Man (En)Framed Against a White Background
Synopsis:
A man is locked in a white room with a hat, a mysterious cube, and two doors that refuse to open. For one hour and five minutes, he will try either to escape the room or come to terms with his confinement.
“Man Framed Against a White Background” is a wordless comedy for a solo actor, inspired by the work of Tex Avery, Buster Keaton, Pierre Étaix, and Samuel Beckett. It avoids technical showmanship in favor of a slow crescendo structure. Like musical variations on a theme, every detail from the opening scene evolves in unexpected ways throughout the piece.
“Man Framed Against a White Background” is the kind of show you stumble upon by chance — and it leaves you speechless. It was a standout at the Avignon Festival in 2010 and 2011. Bathed in a dreamlike atmosphere, the performance is also filled with gentle humor.
“Man Framed Against a White Background” is a show that lies somewhere between contemporary theatre and music hall, blending visual gags, magical effects, and lighting tricks. It was first performed in 2007 at the Théâtre de Vevey and then at the Théâtre de Beausobre in Switzerland. After its success at the Avignon Festival in 2009 and 2010 at Théâtre La Luna and Théâtre Buffon, the piece was performed over 200 times in numerous theatres and national stages across France, the Netherlands, Belgium, Switzerland, and Italy. In 2010, the show was awarded the Robert-Houdin Trophy, presented by Gérard Majax, which honors creativity in the art of magic.
Filming magic for television is a challenging task, as the effects often lose much of their impact and appeal. To succeed, the acts must be reimagined for the camera — through careful choices of angles, editing, and movement. It also means embracing the transformation of certain effects by using cinematic tricks. This enhances the experience, preserves the purpose of the illusion, and keeps the viewers surprised. Another unique aspect of the show is that the character, trapped between three walls, sees and interacts with the audience. But how can this connection survive in a televised version? The proposal is to fully embrace the fourth wall and allow the character to be aware of the camera’s presence. From then on, the man framed against a white background becomes the man framed within a white screen. This approach adds an extra layer of meaning to the piece.
