People always call Julien by his surname, and Blasutto prefers it that way. He likes the originality of the name, rather than an overly generic Julien. Blasutto is firmly rooted in the ground. But sometimes it seems to wobble.
That's because Blasutto is trying to understand our lifestyles, the absence of life, the loss of desire. He still has an appetite, he's going to eat everything up. He wants to work with the raw word, the banal, to denounce the structural racism that oozes out all around us. Blasutto has started digging into his roots, finding treasures and silences there too. Blasutto sets off in search of identities. As he tells his story, Blasutto plays with his earring, draped in a warm, contrasting nonchalance. Blasutto likes to adorn himself, to choose his festive costume, beautiful clothes to celebrate the night that is beginning, full of promise. "I'm not team daytime at all", he says, and that makes me smile.
Julien Blasutto is an actor who graduated from the Teintureries theatre school in Lausanne, where he worked with the GDRA and Jean-Baptiste Roybon. As part of Le théâtre c'est (dans ta) classe, he plays in Dylan et le Fantôme, a solo directed by Tamara Fischer, which will play again at the Usine à Gaz and then on tour for the 23-24 season.
Swiss-Moroccan, Moroccan-Swiss, he examines his complex relationship with a multiple identity riven by tensions between the Switzerland where he grew up and a Moroccan heritage that is difficult to access.His research revolves around the collection of raw narratives, particularly from minority groups, and the work of transforming them into scenic scores, as well as the translation of the banal into the extraordinary.