Having experimented with plastic creation in symbiosis with performance, the theatrical space allows me to extend my reflection on the human presence in contact with my work. Meyerhold’s biomechanics and the works of Gisèle Vienne have influenced my approach to movement, body control and the boundary between puppet and actor in the stage space. The ghostly figure, close to that of the puppet, persists and inhabits the stage, merging and confronting with the actors’ bodies to turn into a character. In open-stage plays, spectators are confronted more directly with these staged figures, who reflect their own image back to them. In more traditional performances, the tableaux come to life, activating these strange worlds in real time.  Through the mechanism of the bodies and their movements, the space is transformed, objects are activated and animated, and sensory material multiplies - taking my work into a total dimension.