” Maybe I’m a performer. At some point I moulted. Things got mixed up and stayed that way. Because beyond being an actress, a performer, I’m always trying to get a little closer to life. When you sit for a moment in the middle of the world, you immediately understand that art must, more than ever, be in touch with reality.
How does the individual experience the transformations of our times ? And how can they carve out paths of reinvention ? What are the inner tensions of the individual within our Western societies ? How can we reflect on people in a state of fragility, and on our own frailties? What is the role of the artist in all this? My works are an invitation to delve a little deeper into our daily lives and ourselves, because we are an inexhaustible terrain and we know it so little. “
Born in 1979, Catherine Froment is an author, performer, actress, director.
Trained with artists who explore contemporary writing such as Solange Oswald, J.M Rabeux, A.Béhar, C.Schiaretti, Krystian Lupa, Michel Mathieu, she practices theater with artists who have a singular relationship to matter and the body such as Rodrigo Garcia, Oskar Gomez Mata.
She shoots with Jacques Doillon, who decides to film her on her own writings. Her studies as a translator in Spanish and Italian lead her to collaborate with several foreign artists such as the Teatrino Clandestino, Rafaella Giordano, Esperanza Lopez.
She has worked as an actress with a number of contemporary theater companies, and in 2005 began her first off-site production with an adaptation of Alice in Wonderland, inviting the audience to the Institut des Jeunes aveugles de Toulouse for an unprecedented encounter: spectators chose to cover their eyes to share the show with blind and visually impaired youngsters.
This was followed by two other off-site creations based on texts by Rodrigo Garcia: Agamemnon in a covered boulodrome, and L’avantage avec les animaux, c’est qu’ils t’aiment sans poser de questions, in the planet observation domes of the Toulouse Observatory, with the participation of astronomers.
In 2009, in her perfomative vein, she created the final chapter of La Chair de l’homme by Valère Novarina, which is a list of over 1714 watercourses.
In 2012, she embarked on writing her first play, La Spectatrice de la vitesse, which was released at Théâtre Sorano followed in 2016 by her second play Le Retireur des eaux, supported by Théâtre Sorano and Théâtre Garonne in Toulouse.
Since September 2016, she has been teaching performance in the “Nouvelles écritures de la scène” Master’s program in the Art et Com department at Toulouse’s Jean Jaurès University.
At Le Générateur, where she has been performing since 2012, she presents for the Nuit Blanche 2025 a new performance, La vallée des reines, the fruit of work on the statues of the queens of France during a writing residency at the Basilique Saint-Denis.
His company’s website Dans le sens opposé
