by Sandy Sun
Zouc’s reputation isn’t that of a clown. First and foremost, she’s known for being herself, Zouc.
Zouc doesn’t look much like a woman. She has a huge body, seemingly a single piece, and is dressed in black. As soon as she appears on stage, sudden movements, expressions with her body, face and voice. Lightning-fast changes of rhythm, axes of her body, scenes and characters. Intensity, depth of feeling, positive and negative.
Zouc paints with gestures; she is a speaking mime but is never chatty, always spot-on in everything, including silence.
Zouc is an off-beat artist, off-centre, a solo performer but not necessarily on her own. Her audience is her partner.
Zouc loves people, but she eats them, dissecting them skilfully, deliciously, before letting us taste them, a joyful Rabelaisienne and a virtuoso quixotic.
The public has a great deal of love for Zouc because she disobeys on their behalf. She breaks codes and the delighted spectator, carried away, wrong-footed, clings on to maintain their balance. And they laugh, how they laugh!
There are no slaps in her game, but a hard-hitting show stitched together with humour and uppercuts for an audience struck right in the heart and asking for more...
Even though Zouc performs her characters on frontal stages, she plays in the round, in 360°, like real circus artists. Her commitment is such that she is taking a risk. No escape, no protection, just total commitment...
Zouc, the art of a multi-faceted clown trying to heal the wounds of a difficult childhood.
Zouc, a high-calibre comic, a magnificent female clown with finesse.
