This week, Signature are highlighting Guillaume Pigé, founder of Theatre Re, an organisation which focuses on the power of visual performance and non-verbal productions. Throughout the blog, Guillaume shares his thoughts on the importance of accessible performance and the development of the folktale inspired production, Bluebelle.
- Hi, Guillaume, please could you introduce yourself to Signature engagers.
Hello everyone! Thanks so much for having me.
My name is Guillaume Pigé. I am originally from France, and I have been living in the UK for the past 18 years. I am the Founder and Artistic Director of Theatre Re- an artist-led theatre company bringing original live music with striking visual performance to create world class, deeply moving non-verbal productions about universal human challenges and the fragility of life.
- What inspired you to establish Theatre Re, and can you share a bit about how you first discovered your passion for theatre and mime?
At first, and for a while actually, I only wanted to make shows, and to do that one needs a company or at least a name that will ‘produce’ the actual production. I did not want it to be my name because I really believe that making theatre is about bringing people together to make and then watch something live.
I first started with magic and then I trained as an actor, and then trained as a Mime artist and at the same time as a director… but Magic never really left me.
- Why was it important to you after BIRTH’s run at the Edinburgh Fringe Festival in 2019, to develop a piece fully accessible to d/Deaf audiences- leading to the formation of Bluebelle?
Yes, developing access for our work started ‘by chance’ at the Edinburgh Fringe Festival with BIRTH back in 2019. Many d/Deaf artists and audiences came to ser the show at the festival that year and were very appreciative and supportive of the work. The piece was so visual that it did not need BSL interpretation to be accessible. This is something we were very keen to carry-on and make conscious choices about moving forward.
When it came to developing ‘Bluebelle’, we collaborated with Deaf and Visual Vernacular Artists. This ensured that ‘Bluebelle’ could be accessible without the need for BSL interpretation, but it also enabled us to challenge our physical and visual style, as well as our way to communicate without words.
Developing ‘Bluebelle’ was the beginning of a long term collaboration with Performance Artist and Creative Consultant Jonny Cotsen.
- How do you ensure that your productions remain engaging and meaningful for both hearing and d/Deaf audiences?
Since making Bluebelle, Jonny has joined our Advisor Group, and we made another show together called ‘Moments’. This collaboration led to the development of a BSL integrated version of the piece with BSL interpreter and Performer Anna Kitson.
This year, we have also teamed up with the wonderful Anna Seymour (Dance Artist and Performer). Anna has been watching all our work in rehearsal, live on stage and on screen and she has created short video responses for each touring pieces. Through this collaboration, our aim is to make sure that our work is accessible and relevant, but also to entice more d/Deaf people to come and see us.
- How do you think theatre as a whole can become more inclusive for d/Deaf and hard of hearing audiences?
I believe there could be a lot more training opportunities accessible to d/Deaf and hard of hearing artists. This would probably help to have more d/Deaf artists on stage or/and backstage and in turn bring more d/Deaf audiences to the theatre.
- What are your long-term goals for making Theatre Re a model for accessibility in the performing arts?
One of our long-term ambitions is to be able to work with teams made up of d/Deaf and hearing artists on stage and off-stage. To get there, our short-term goal is to offer more accessible training opportunities. This is important because this is how we tend to meet new collaborators. On that we might have some very exciting news coming up in the Autumn on our training front…
- What are your plans for the future, with Theatre Re and your general aspirations?
We want to keep doing what we are doing, and we want to do more!
This year we have got 4 shows on the road touring nationally and internationally. On the training front, we deliver more workshops than ever before.
In an ideal world, we are able to maintain this rhythm and at the same time we can keep making new work through exciting partnerships and collaborations.
If we dream a little, it would be wonderful if some of our touring pieces could get a longer run in London…Who knows maybe someday!
- Finally, what advice would you give to your younger self?
I would say take your time. There is no rush. You’ve got this.
Here at Signature, we would like to say thank you to Guillaume for sharing his inspiring journey of creative vision with us. His work with Theatre Re is a testament to the power of non-verbal storytelling and the importance of inclusive creation. Through his work, Guillaume proves that theatre can be for both hearing and d/Deaf audiences. His commitment to creating inclusive shows sets a powerful example across the performing arts. Thank you for sharing this with us and we wish you all the best with Theatre Re.