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In a family environment more motivated by other concerns, nothing predisposed this young boy to engage in an artistic and especially theatrical. However, showing an early taste for drawing and graphic design, his studies move towards the Auguste Renoir school in Paris and will be sanctioned by a Baccalaureate STI option applied arts in Lyon and a BTS in visual communication. He then goes to the School of Decorative Arts in Strasbourg, which he graduated (DNAP). During his installation in this city, he meets a playwright whose attendance reveals him the theatrical universe. Interested in this discovery and attracted by a practice that brings together the arts and crafts, Alban Ho Van integrates, in 2007, the scenography department of the School of TNS (Group 38) which he appreciates, in addition to training, openings proposed, the collective mix with other student workshops and the opportunity to mix with the movie set. During his studies, he met, during an internship, the director, author and filmmaker Christophe Honoré who invited him to an assistantship in scenography (alongside Samuel Deshors) for his creation of Angelo, tyrant of Padua de V Hugo, at the Avignon Festival 2009, in the Courtyard of the Palais des Papes. A milestone even before the end of his studies which begins a collaboration continued today. In the autumn of the same year, Alban officially signed his first performance for Graves wives / frivolous Animals by H. Barker, directed by G. Dujardin. Then, his creations are linked, with the young director Mr. Poésy, classmate at the TNS, for Hanokh Levin's Funeral of Winter (2010), Purgatory in Ingolstadt by M. Fleisser (2012), Candide after Voltaire (2014), and with Galin Stoev for Liliom by F. Molnàr (2014), Tartuffe (2014 at the Comédie-Française), Les Gens d'Oz (2016), meanwhile the reunion with Ch. Honoré for the scenography of his New novel, created at the Festival d'Avignon (2012).
An important and representative step in Alban Ho Van's journey, whose references to the old are between Richard Peduzzi and Anna Viebrock. For this dive into the universe of great contemporary writers breaking with conventional forms, the scenographic design involves a long work of significant architectural research, which will find its expression evocative between reality and theatricality, in the form of a hall graduated university offering adapted locations, circulations of actors and especially those of speech, contributing to the expression and the rhythm of an almost cinematic staging. Characteristics found in an imposing architectural form for End of History after W. Gombrowicz (2015), still with Ch. Honoré. All aspects that bear witness to the practice of this young creator, for which he formulates certain aspirations in the near future. "I'm looking for people of my generation to develop ideas in a new artistic approach, because I consider that in my field there are still unexplored tracks, and I want to meet with director partners to exploit this potential. In the meantime, I remain open to different experiences able to reinforce my knowledge, as for example in the continuity of a collaboration with a decor workshop in Nantes which should be done next winter. I am aware that the exercise of my job is much more complex and demanding than I imagined during my training, but I am willing to do everything possible to achieve my artistic desires by going to the end of my ideas. "
Meanwhile, despite his professional rise, Alban Ho Van always considers himself with great lucidity in a phase of reflection and learning that honors him. He will have the opportunity to feed it soon for Mozart's Cosi Fan Tutte in a staging by Ch. Honoré, opening the Festival of Aix-en-Provence, and then back to Agnès Jaoui for the resumption of his successes Cuisine and dependencies and A family tune in a private theater in Paris. New experiences that will allow him to expand the palette of a talent still evolving.