In 2006, ten years ago, a group of young comedians discovered they shared affinities and decided to work together. What they mostly rejected was the inherent isolation of their profession, deciding instead to create a small family in which they would do research together, build together, unlearn and learn again together. From those desires arose a common language that has since structured every single one of their artistic projects. Aged 20 to 25 then, they also enjoyed individual adventures that would then enrich their work together. It isn't a collective but a family Thomas Jolly thus created: La Piccola Familia. Since then, over 70 people have taken part in their different shows: Marivaux's Arlequin poli par l'amour (Harlequin, Refined by Love); Sacha Guitry's Toâ, which received the audience award at the Festival Impatience 2009; Mark Ravenhill's pool (no water); H6m2, based on William Shakespeare; Shakespeare's Henry VI, an eighteen-hour-long odyssey that played at the Festival d'Avignon in 2014; Julie Lerat-Gersant's L'Affaire Richard (The Richard Affair); the digital installation R3m3, based on Shakespeare; and Shakespeare's Richard III (2015). Through those shows, the Piccola Familia has always wanted to reiterate the political role of the theatre, its mission as a public utility.