LÉA LUCE BUSATO
LEA IS AN ACTRESS. OF ITALIAN ORIGIN, SHE NOW LIVES IN PARIS. A DIGRESSION ON THEATRE, HER ART AND BERNARD MARIE KOLTÈS.
DISCUSSION UNDER THE LENS OF PHOTOGRAPHER ENZO LEFORT.
My name is Léa Luce Busato, I am of Italian origin, I grew up in Metz and I have been living in Paris for 10 years.
I am an actress. My first emotions of transgression appeared with literature and writing, where I discovered the power of the word and of fiction. At the same time I discovered the power of incarnation through theatre.
I studied at the National Theatre School in Strasbourg. I then played in France in Quai Ouest, a play by Bernard Marie Koltès directed by Ludovic Lagarde, and I shot a 9-part film freely adapted from Kieslowski's Dekalog with Julien Gosselin, a project initially created for the theatre but aborted because of Covid, which will be released in 2023.
My relationship to theatre is performative, the actor is like a frequency, in perpetual movement, and through a series of actions makes abstraction appear. The actor becomes a thought, an image, independent of his own representation. It is in this research that I am involved.
To play, to think the game and to cross it is the permission to approach any a priori remote comprehension of my own life, and the possibility of surpassing anything, thought or lived. To play is to question any subject, in any context, freed from our place in the world. It is as infinite as seeing and feeling.
Bernard Marie Koltès is an author from Metz, and he was the very first author I performed at the age of 15. Twelve years later, the first play I was hired to do was one of his plays. I like serendipity, I like everything that echoes, the feeling of the obvious. It means that a movement around something is already created.
The desire was immediate to carry his writing because Koltès writes about places. And in these places, there are stories. Inheritances, clandestinity, people who were not meant to meet and whose stories we want to know. He was an author who wrote for the theatre, for bodies and voices in relationship and in play. When you play Koltès, you metamorphose, you are obliged to leave yourself to join the rhythm of the writing, then the character, the thought, and what motivates the thought to be formulated appear to you. It is precious for an actor to be able to search for understanding through incarnation, starting with the writing.
This is a dizzying question, and one that I believe is strictly necessary for every artist. It may remain unanswered, but it allows us to place ourselves at the genesis of a story. How does it appear, as a result of what, in response to whom, etc.?
Italy, where my parents come from. It is a country, an atmosphere, where my childhood emotions are in harmony. There is something of the wisdom and the voracity that match.
A recent book "The New Elders" by Kae Tempest. It is a contemporary fable about how myths were once stories through which everyone looked at themselves. Today we live those same stories, but we think them narrow when they are equally epic and pitiful, and we are still half divine.
Bacon's paintings for his indefinite and unlimited contours and Henri Matisse for the emotion of his colours.
My relationship with clothing varies from day to day, it can be a means of expressing my sense of freedom as well as my desire for transparency.
I always want it as an extension of my emotion rather than as a catalyst, I agree with it but I never want it to be stronger than me.
I also have a relationship with memories. It's as if the right way to dress sometimes is something I look for in the past, in a nostalgia for oneself and in the pleasure one can get from going back to it.
Alifib by Robert Wyatt and Friends & Foes by Vitalic