It was his encounter with Antoine Vitez, at the school of the Théâtre national de Chaillot, that decisively brought Arthur Nauzyciel into the world of the theatre, whereas his university studies would have naturally led him to the plastic arts and the cinema. An actor, then associate artist at the CDDB-Théâtre de Lorient, he founded his own company, Compagnie 41751/Arthur Nauzyciel there, to become a director and undertake an adventure that brings into play questions on intimacy, memory and transmission. Right from his first show in which he brought Molière's daughter into the performance of The Imaginary Invalid, he dared to mix the view of childhood with death that lurks, asserting a strong and unquestionably disturbing vision of the classic work that we all believe we know. This shifting of texts towards territories where we do not expect them marks all the work of Arthur Nauzyciel, who has chosen to anchor his theatre in other realms prohibiting the simple reproduction of a style or technique. He regularly works in the United States, where he successively premiered in Atlanta Black Battles with Dogs and Roberto Zucco, giving these two works by Koltès, translated into English, new strength, danger and violence. It would then be in Boston, with Shakespeare's Julius Caesar, which he projected into the 1960s, the Kennedy years. In Dublin, he presented The Image by Beckett, at the Comédie-Française Heldenplatz by Bernhard, before dealing with Kaj Munk's writing (Ordet) and Marie Darrieussecq by directing his first play, Le Musée de la mer, at the National Theatre of Iceland. Director of the Centre dramatique national Orléans/Loiret/Centre since 2007, Arthus Nauzyciel continues to work for a theatre that speaks of today without ever forgetting the shadows of the past. At the Festival d'Avignon, besides his performances as an actor, he presented his directing work with Black Battles with Dogs in 2006 and Ordet in 2008.
JFP, May, 2011.