Mariecke de Bussac
18 MARCH 2025
An actress, dancer, writer, and director from Paris. Having come to Clermont-Ferrand many years ago, she is still based there, performing concerts all around France
An actress, dancer, writer, and director from Paris. Having come to Clermont-Ferrand many years ago, she is still based there, performing concerts all around France
I was always putting on little shows with my cousins, and later at school with my friends. My family didn’t really encourage this calling, but after getting married and settling in Clermont, when we already had children, I decided to follow my dream and dedicate myself to theater. I’ve been doing it for 50 years now.
How did you get into theater?
I don’t really think about it, and I certainly don’t dress to be judged by others. Sometimes people stop me in the street to compliment me, to say I look elegant, that I have style. But as I said, I don’t do it for the attention. It just comes naturally. My mother was an elegant woman—I think I inherited that from her.
What effect do you think your appearance has on people?
You dress with a lot of elegance. Do you see it as an art?
It’s how I express and present myself. I love delicate, elegant things and mixing colours—it's a way to share ideas. I own a lot of clothes. They are "scattered all over the apartment," but I take great care of them—some are over 30 years old! What I wear depends on my mood, and of course, the weather.
I was born and studied in Paris, then moved to Clermont with my husband, and I’ve been living here for 60 years now. I’m an actress, director, dancer, and writer. I had my own theater company, and I wrote plays for them. Ever since I was a child, I’ve always wanted to do theater, without even knowing why!
Tell us about yourself
A few weeks ago, I performed in a play that was a big success in France, Brazil, and Chile: The Secret Life of the Elderly, written by Mohamed El Khatib. It’s based on real testimonies (verbatim) from elderly people living in nursing homes.
The subject is taboo: older people have romantic and intimate relationships, but their children find it unbearable. With the support of the staff, they do everything to keep these couples apart, believing that this kind of love has no place. It’s a powerful play that tackles a difficult topic with gentleness and lightness.
The subject is taboo: older people have romantic and intimate relationships, but their children find it unbearable. With the support of the staff, they do everything to keep these couples apart, believing that this kind of love has no place. It’s a powerful play that tackles a difficult topic with gentleness and lightness.
Which performance has been the most memorable for you?
I chose multidisciplinary artists—actors, dancers, musicians, videographers, and lighting designers—for a specific theme. I proposed a guiding thread, and then we improvised on stage. Based on these improvisations, I wrote the scenes. We worked for a little over three months before presenting this work to the public.
How did you write plays for your company?
Above all, it’s the love of the audience that drives me—I step on stage to connect with the audience and feel that love. In everyday life, it doesn’t really matter to me, but when people come to the theater to experience something, I would like them to love me.
I love learning lines, reading, and blending art forms—they inspire each other. I enjoy rehearsals and working with different directors and actors. I used to do experimental theater, mostly with feminist themes. But I don’t run a theater company anymore—it started taking too much energy and administrative work as I got older.
I love learning lines, reading, and blending art forms—they inspire each other. I enjoy rehearsals and working with different directors and actors. I used to do experimental theater, mostly with feminist themes. But I don’t run a theater company anymore—it started taking too much energy and administrative work as I got older.
What draws you the most to acting?
I wouldn’t call it a sudden spark of inspiration. There are films and books that move me, that make me think, that feed my writing—that’s how I work, not by waiting for inspiration to strike. But life itself is an endless source of inspiration, just like art and the people who create it.
Where do you find inspiration?
Chekhov, of course! He’s an exceptional writer—The Cherry Orchard, Uncle Vanya, Three Sisters… Though The Seagull is the one I like the least. My desk is filled with his portraits. I also love Jean Racine, Andreï Makine, and Annie Ernaux, who won the Nobel Prize in Literature in 2022.
Which authors do you admire?
With the Volcans instrumental ensemble, we will be performing pieces of music by Ennio Morricone. I have written texts that will connect the pieces. The next performance will take place on April 5 at 8:30 PM in Mozac (Salle de l’Arlequin), and the show is titled Once Upon a Time by Ennio Morricone.
Where can we see you on stage next?
— Life itself is an endless source of inspiration, just like art and the people who create it.
If your clothes were music, which artist would they be?
French singer Véronique Sanson.
What are your favorite places in Clermont?
I love this city and walking in it—I walk about 10 kilometers a day. I especially enjoy Jardin Lecoq for its nature and changing seasons. I also appreciate the Roger-Quilliot Museum, Hôtel Fontfreyde, Galerie Trocmez, and La Comédie of Clermont. I used to love Café Thomas before the renovations, now it’s too noisy.
Life without art is impossible. No one can live without art—it's an absolute necessity. Of course, there are a thousand different definitions of art, shaped by each person’s education, experience, and background. But despite these differences, art remains essential.
And yes, it should be accessible to everyone! With my company, I often worked in places like psychiatric hospitals and prisons, precisely so that art could reach those who are far from it. I find that completely natural—art should be everywhere and for everyone.
And yes, it should be accessible to everyone! With my company, I often worked in places like psychiatric hospitals and prisons, precisely so that art could reach those who are far from it. I find that completely natural—art should be everywhere and for everyone.
What do you think about art? Should it be accessible to everyone?
