Background

For more than four decades, de l'art du corps au corps du théâtre (“from the art of the body to a body of theatre”), Omnibus has been providing theatre education that emphasizes and celebrates the appropriation of the self and the imagination. Through an innovative curriculum rooted in objective theory and disciplined training, students are introduced to a wide range of aesthetic possibilities. Professional and amateur mimes,
puppeteers, actors, dancers, circus artists, singers, and variety performers join together with practitioners, teachers and theoreticians to study a productive artistic language that rigorously excludes anything not directly related to the performer on stage.

Omnibus (founded in 1970) and its creative incubator, the École Omnibus (1977), are inseparable: the same artists are involved in both organizations, and their mutual study of issues of style and content shapes the school’s curriculum and inspires the company’s dramatic writing. Through their research, teachers and artists expand contemporary dramaturgy to embrace experimentation in myriad forms, from the pure (mime) to
the impure (little-known works of the theatre repertoire) by way of hybrid productions that incorporate other artistic disciplines. The result is an eclectic form that combines movement and speech within a radical aesthetic language.