Ryan McGoldrick: How have you found working in the arts in Australia compared to France?
Cloé Fournier: I must say I really started my professional career here in Australia. But in general, I feel like in Australia we have a quarter of the time to develop a work, a lot less funding too as well. But, somehow, Australian artists make it work. At the end of the day, it is hard everywhere. The main difference would be in the work process and how people interact with each other. In France, we are very direct. If something is shit or if you are not doing what is asked of you, the person will just tell you it is crap. Blunt, cut throat but straight to the point. Here, it is much more polite. People are more encouraging or perhaps not as honest!
Dining [Uns]-table deals with family relationships, how do you approach including personal material in your work?
I am very interested in social behaviours and specifically human interactions. I guess that is one of the reasons I started developing this work. I often use my personal experience when I start working on a project. Then it expends but somehow I need a personal connection to the subject matter to deliver an honest work. I also think there is always something tragic present in every family story. And I like to make fun of everything that is not necessarily funny.
When did you start dancing and what made you want to make a career out of it?
From what Mum told me, I came home one day and simply said to her that I wanted to enrol in dance classes. I have no recollection on why and Mum never pushed me to become a dancer. She was far from the “ballet mum” stereotype. I was 4. I never stopped. I did not choose to make a career out of dance. The truth is I just wanted to dance so I made it happen. But it now goes beyond. I have other interests such as theatre and technology. Dance is always present in the work I create but not in its purest form.
What interests you in audience participation in performance?
The challenge, the thrill of having to improvise every night depending on who your audience is.
Who are you tipping to win the flag this year? (AFL)
Unless the players decide to play naked, I really do not care about AFL!
Cloé Fournier: You used to dance. In a bathtub. In public. Naked. Myth or Reality?
Ryan McGoldrick: ‘Dancing’ might be a stretch, but I did spend some time bathing with other actors in the lounge room of an ex-nunnery-turned-sharehouse in Marrickville for a sell-out season at Woodcourt Art Theatre. Yah. Reality. #freethearts
What is the best memory you have of your childhood?
Playing soccer on crisp, wintery Saturday mornings.
How does the use of technology influence your daily life?
I’m a news junkie, so I’m quite attached to my digital news subscriptions.
Do you identify as an “Arty-Nerd” specimen?
Yes. I was living a lie for so many years, but now I’m finally at peace with it, and it feels great.
With the big news about the change of funding for the Arts, do you think we are mad to be artists?
Why should I come to see your show? (OMG, that’s six questions! #rebels – Suzy)
Because I’ve got a fucking great story to tell you.
Afterglow – 2 emerging performance makers, 2 new works, 2 weeks.
The Great Speckled Bird by Ryan McGoldrick 17 – 20 June, 2015
Dining [Uns]-Table by Cloé Fournier 24 – 27 June, 2015
Show venue: PACT Theatre