for a dozen years, it is within the framework of the “Festival Theatre” of the SACD, la Société des auteurs et compositeurs dramatiques, that are delivered to two very price associated with the Figaro , the prize “Pleasure of the theatre” and “Jean-Jacques Gautier”.

Two awards that had been created by an industrialist and lover of dramatic art, and friend of the famous critic of the Figaro , writer and Academician, Marcel Nahmias. The price “Fun theatre” was born in the 70s, with Judith Magre as the first winner. The death of Jean-Jacques Gautier, Marcel Nahmias, to honor the memory of his friend, founded the prize that bears his name and goes to the young talent.

on Monday evening, in the beautiful salons of the rue Ballu, Sophie Deschamps, author, screenwriter, president of the board of directors, has launched the feast in front of a crowd of actors, directors and writers, who met warmly.

Sebastian Galeota plays, sings, dance

Sebastian Galeota has received the 30th prix Jean-Jacques Gautier. A prize, generously endowed, awarded with a medal representing the Academician and his profile is very roman. Chosen by the jury, under the presidency of René de Obaldia of the Académie Française, and notably including Jean-Louis Blaisot, SACD, Yves Bourgade, and Gilles Costaz, Jacques Nerson, Nicolas Vaude, Sonia Vollereaux, Sebastian Galeota was elected unanimously.

He was born in Buenos Aires, but has been working for fifteen years in France. A national of argentina, with grandparents who came from Italy, he will in a few days the French nationality.

This is an artist gifted who has been trained very young to the business of the scene and the track, perfecting his art in a very famous musical theatre school, Estudio Julio Bocca/Ricky Pashkus. Sebastian Galeota plays, sings, dances, knows how to perform acrobatic feats superb. And he has another string to his bow: he knows how to interpret the women with a very natural away from make-up too heavy. All these qualities of sensitivity and intelligence of texts and situations, make him a performer who stands out from the crowd.

Before the France, he has worked in his country and the United States, where, at the age of 22, in 2000, he had joined the international company of musical theatre Chet Walker, assistant to Bob Fosse in New York.

Arrived in France in 2005, he experienced the rigorous discipline of Disneyland Paris before meeting his family of artists in the person of Stephan Druet. In 2005, he co-wrote the staging of Tales of Hoffmann by Jacques Offenbach, with Julie Depardieu and Sophie Tellier. Sebastian Galeota is engaged in the adventure.

Since then, not a season without that is not found in the original shows where the different facets of her talent are highlighted: it can work in large productions at the opera or the musicals ( The Merry Widow or The King and I ), or performances are more intimate as the dolcevita can or comedies singular, such a Renata of an argentine author, Javier Ulises Maestro.

For the past two years, he laid down his baggage at Pocket-Montparnasse. He has been involved in Histoire du soldat of Stravinsky and Ramuz, and plays the son of Marisa Berenson in Berlin Kabarett, which will be resumed in march. In addition to these activities, Sebastian Galeota find the time to animate Microthépatre City 27, with short parts to public in the small committee!

The “pleasure” suits him very well

another winner is therefore Alain Françon, director at the path that is impressive, but always at work. It is at this time at the Théâtre de Carouge, Geneva, where he directed The Misanthrope of Molière. This is the first time that he directed Molière, who made us better acquainted with Edward Bond, and was faithful to Michel Vinaver, who was present Monday night to the SACD. Alain Françon has lit up the last season with A month in the country of Turgenev, with, among other performers, Anouk Grinberg and Micha Lescot. Anouk Grinberg was also present, as well as Dominique Valadié.

Gilles Costaz, who gave his prize to Alain Françon has pointed out that the criticism had not spared, but that he had opened the door of Edward Bond and informed Michel Vinaver, and that the “fun” it was going very well. Responding briefly, Alain Françon, white hair and clear eyes, looked excited and happy of this award, “pleasure of the theatre”.

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