at John and Lyndie Wright’s Little Angel Theatre of London, Alain Lecucq
establishes the shadow theatre company, La Citrouille, with Annie Bizeau in
1970s. He is simultaneously very attracted to paper theatre which he discovers
through George Speaight, one evening at the Little Angel Theatre. He starts
buying reproductions and gradually shifts to purchasing original sheets of
paper theatre. He does not leave the habit of hunting at prints dealers’
affairs and secondhand markets and that is how he becomes the owner of a large paper
to perform with these “historic” theatres, he begins thinking about the
adaptation of this technique for contemporary stage production, keeping its two
most important characteristics, cardboard and flat form, as unchangeable rules
for his future work.
with contemporary authors including Michel Deutsch, Matei Visniec, Mohamed
Kacimi, Howard Barker, and Orhan Pamuk will allow him to affirm the fruitful
exchange between present day literature and a renewed technique which also
finds its right place at the heart of puppetry.
choosing paper theatre technique as his artistic expression does not keep him
away from his everlasting passion for the very diverse world of puppetry to
which he devoted several years of volunteer work as the secretary and later the
president of Themaa, association of puppetry and related arts in France.