An actor, dancer and partner of various performing artists between 1997 and 2005 (in particular R. Cayre (“O”, Les Bonnes), T. Escarmant (Encéphaline), T. Niang (Traversées) and V. Parronaud (Territoire), Guillaume Pons gradually moved backstage, enriching artistic projects through stage management, lighting, and occasionally sound design. Self-taught, he explores chiaroscuro tensions in Matin et soir (Cie des Limbes), Kindertoten Schauspiel and Ricercare (O. Dhénin), as well as Encore un beau dimanche and Minotaure (La ligne de désir). Seeking out the light to see what must be seen: his artistry beckons viewers to open their eyes and minds.
He coordinates PAR lamps and fluorescent tubes in resounding and vibrating choreographies for Machin la hernie (JP Delore), Minotaure (La Ligne de désir) and Tube (M. Monfreux), and projects Sarah Kane’s torment in video feedback for 4:48 Psychose (Écrire un mouvement). He uses diodes and trichromy in Pop Satori (La ligne de désir), Incantations, Faustroll and Le Gritche (Cie Pseudonymo), delineating their vague electronic sweep, deft and incisive, like a gateway to disruptive variations.
He has worked on several different shows at Le Tarmac (International Francophone Theatre) and accompanied a number of productions throughout France and abroad, including: Au nom du père, du fils et de J.M.Weston (J. Mabiala), Fadjiri (S. Coulibaly) and La petite vie bien osée de Sony Labou Tansi (H. Kouyate). He has also plied his creative talents for JP Delore, P. Lamandé and Dave St Pierre. Finally, he tours with productions by Gaëlle Bourges (The bath, Laura) and Estelle Savasta (Le préambule des étourdis).
