Prior to the director’s career, Christophe Rauсk worked as an actor at Ariana Mnushkina’s Theatre du Soleil. He began his director’s job after founding the Wilderness Company with other Mnushkina’s theater’s actors. In 1996, he directed “The Caucasian Chalk Circle” by Bertholt Brecht; the performance was first performed on the stage of the Theatre du Soleil and later went on a two-year tour; in 1997, it took part in celebration of Brecht’s 100th anniversary in Berlin. William Shakespeare’s “As You Like It” and “The Twelfth Night” and Lyubomir Simovich’s “Shopalovich’s Wandering Company” followed this job. In 2001, he directed “Larvae’s Laughter” after the texts and lyrics of humorist Kami. In 2003 – 2006, Rauсk was the head of Byussang People’s Theater, where among other performances he directed Yevgeny Schwarts’s “The Dragon” (2003) and Bertholt Brecht’s “The Life of Galileo” (2004). He comsummated his work at this theater with direction of N. Gogol’s “The Inspector General” is which he used Remy de Vos’s songs.
In 2005, he directed Martin Krimp’s “Getting attention” at the Theatre de la Ville – les Abbey and at the Vidi-Lausanne Theater.
In January 2008, Christophe Rauсk was appointed Director of the Gerard Philipp Theater in Saint-Denis.
At the Fifth International Alexandrinsky Theater Festival, Beaumarchais’s “THE MARRIAGE OF FIGARO” (Comédie Français Theater) will be presented on October 17 and 18, 2010.
I am inclined to consider this play as a fresco composed of many different stories, which, combined together, present a multi-dimensional portrait of a particular social group. I am in the highest degree attracted with the ambiguousness of relations between the characters, the dark side present in each of them. I like that Beaumarchais speaks about public phenomena and at the same time about more such private issues like matrimonial relations.
As a whole, I find all this revolutionary entourage very conditional, and I consider it as a background and not the content. What “The Marriage of Figaro” is telling us with Beaumarchais’s words is a lot more, than a political manifest: this is precise and almost clinical analysis of the public and interpersonal relations; to a certain extent, this even reminds us of Marivaux. “The Marriage of Figaro” does look like a flawlessly directed “crazy day” with a gorge of situations, emotions and character. Nevertheless, a tough and ambiguous look at the society is hidden behind the easiness of a brilliant word game; it reveals a totally different perspective to us. Beaumarchais, brought up on the ideas of Enlightenment, very well might be not as marble-hearted as Maurivaux, but that does not prevent him from looking at the humanity and society without any indulgence.”
Christophe Rauсk (from the interview to Isabel Baragan)