About
Passionate about the link between theater, music and visual arts, Louise Moaty premiered this is not a dream in August 2014 with Russian pianist Alexei Lubimov: a dialogue between Satie and Cage's music played on three pianos (one prepared and one toy) and the images she makes and projects live with a magic lantern recreated for the occasion. In 2013-2014, she staged The Emperor of Atlantis, opera by Viktor Ullmann and Petr Kien with Arcal and Ensemble Ars Nova, dir. P. Nahon. In 2012-2013, John Blow's Venus and Adonis with the Musicians of Paradise. In 2011, Thousand and One Nights she adapted, staged and played alongside the ensemble La Rêveuse; and in 2010, Mr. Couperin's Magic Lantern with harpsichordist Bertrand Cuiller, touring today with Violaine Cochard. Her Rinaldo de Haendel, created in 2009 with Collegium 1704 (directed by V. Luks), was played until June 2014. She also created the space for the Ela and Soyo shows of the Franco-Brazilian singer Dom la Nena (2013, 2015), and in the fall of 2015 Paris New-York Odessa for the Île-de-France Festival. This show, designed with musicians from the Black Eyes, addresses the theme of migration through the journey of the Jews of Odessa in New York in the early twentieth century, music, images and texts from the stories of Ellis Island by G. Perec and R. Bober.
Actress, Louise Moaty also supported a master's degree in theater studies at the University Paris III. She played for Eugène Green, Clément Postec, Nicolas Vial, Perrine Mornay, Alexandra Rübner, Jordi Savall and Benjamin Lazar, with whom she often collaborated on the staging: Pyramid and Thisbé by Théophile de Viau at the Théâtre de l ' Athenaeum in which she plays Thisbe, The Other World or the States and Empires of the Moon with the Dreamer, the Bourgeois Gentilhomme of Molière and Lully where she plays Lucile ... Their theatrical fraternity led her to interpret Leah in her staging Dibbouk of An-Ski, touring France in 2015-16 (production MCA Amiens). In 2015, she created her own company: Les Mirages, in order to lead her own adventures, to freely and autonomously promote her proposals and their inscription in the public space. By relying on contemporary texts or repertory, and defending in particular poetic texts as places of emancipation of thought, it is always a matter, in a great freedom of forms and mediums used, to create new relationships with spectators by offering the sharing of singular experiences to open new horizons.