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Workshop "Exploring and Performing the Work of Sarah Kane"

A ten-day immersion into the powerful and sensitive world of Sarah Kane, designed for artists eager to explore the physical, poetic, and political force of her writing.

Only 14 spots · apply by April 4

This workshop is designed for performing artists with professional experience or in advanced training.

 

Who can apply: Performing artists : actors, directors, dancers, musicians, circus performers, or puppeteers, with at least two years of professional experience or training in a performing arts school.

Maximum participants: 14

Dates: Monday, May 4 - Friday, May 15, 2026
(Off: Saturday, May 9 & Sunday, May 10)

Total duration: 70 hours - 10 days

Location: Lilas-en-Scène - Salle Joséphine

Applications open until: April 4, 2026

Funding: Possible coverage through AFDAS.
Applications requesting funding are given priority to meet the deadlines set by the organizations.

Directed by Sylvain Levitte
With the participation of Rachel Zekri, intimacy coordinator


Acting / Voice, Body & Movement

 

Pedagogical Direction

This workshop is led by Sylvain Levitte, director and actor. His work focuses on British theatre, from Shakespeare to Sarah Kane and Kae Tempest.
He guides actors through a process that places the performer at the heart of creation, developing
the body, voice, and imagination in direct engagement with the text.

Intimacy Work

The workshop includes two days dedicated to intimacy and stage safety with Rachel Zekri.
Participants will learn:

  • professional protocols for working with sensitive material

  • tools to communicate boundaries clearly

  • strategies for safely staging scenes of violence and intimacy

These practices are then applied directly to the works of Sarah Kane, enabling participants to explore her text with freedom while maintaining personal safety.

 

On-Stage Practice

This workshop provides an immersive exploration of Sarah Kane’s theatre.
Participants will engage with:

  • her dark humor and uncompromising intensity

  • the hypnotic rhythm of Crave

  • the poetic and visceral force of 4:48 Psychosis

  • the staging of violence in Blasted, Phaedra’s Love, and Cleansed

All exercises take place on stage, not at a table:

  • daily physical warm-ups

  • body and voice work

  • exercises exploring relationships with scene partners

  • improvisation and scene exploration

Participants work as active creators in dialogue with the text, discovering how it resonates physically, emotionally, and socially today.

 

The work emphasizes instinctive, embodied practice: developing sensitivity, openness, responsiveness to space, words, partners, and objects. Learning happens through movement, voice, and relational awareness.

Des questions ?

Only 14 spots · apply by April 4

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