Interview — Fresnes sur scène, with Juliette Coulon and Alice Hervé, following the launch of workshops in detention on March 24

For several years, the Odéon Theatre has been developing a strong artistic presence within correctional facilities, driven by the belief that theatre can serve as a powerful tool for reintegration, restored dignity, and personal transformation.

Through the Fresnes sur scène project, eight incarcerated individuals take part in an intensive theatre workshop centered on the theme of love, drawing on classical, contemporary, and personal texts.

Actress Juliette Coulon leads this work alongside Romain Dutheil, with a shared commitment to both rigor and openness.

Francis Kurkdjian Endowment Fund: How did you approach your role as a teaching artist within the correctional facility? And what made you want to take part in this project?

Juliette Coulon:
“What drew me to it was, like many things in life, an opportunity. Four years ago, I was asked to step in for an artist who couldn’t continue a previous project. I supported the remaining sessions before the final presentation at the Odéon, working with a group that had already begun the process.

I really enjoyed the experience. I mentioned to the person in charge of cultural programming at Fresnes that I would be interested if similar opportunities arose. Shortly after, Alice Hervé contacted me to lead a project the following year, which I was, of course, delighted to accept.

I approached it quite naively. I didn’t really know what to expect, as everything happened very quickly. In the end, I found it to be quite natural. Being in a correctional environment and working with a group of incarcerated men felt simple and intuitive. I felt comfortable, confident, and very happy to be there. It was a real surprise.”

Alice Hervé:
“When we entrusted Juliette with the project, it was never intended for her to work alone. Intervening in a correctional setting is complex, and working as a pair is both more effective and more enriching.

That year, we partnered for the first time with the Malakoff Theatre, a national stage, with the aim of opening up our network to more multidisciplinary artists. This is how Romain Dutheil joined the project. They didn’t know each other beforehand, but it turned into a very strong artistic and human collaboration.

Today, the project brings together two distinct artistic worlds that have been in dialogue for three years, creating particularly rich outcomes.”

Francis Kurkdjian Endowment Fund: The project revolves around the theme of love. Why this choice, and how does it resonate with the participants?

Juliette Coulon:
“This is our third year working together with Romain Dutheil, and until now we hadn’t fully explored emotions in a direct way. This year, we wanted to address a strong and universal feeling: love.

Last year, some exercises focused on emotions like anger and joy were very well received. We felt that participants were eager to explore that territory further, so we decided to fully embrace it.

In a correctional setting, where social interactions are often shaped by image and self-protection, we felt it was important to guide them toward something more sensitive and introspective.”

Francis Kurkdjian Endowment Fund: What were the participants’ first reactions? Did you observe any resistance or enthusiasm?

Juliette Coulon:
“So far, we’ve only had one session with part of the group. The initial reactions were quite positive. I presented a selection of texts to give them a sense of the material and encourage them to come back.

I also explained that they might be asked to perform texts written from female perspectives. This didn’t raise any particular resistance—some even commented on how beautiful the texts were.”

Alice Hervé:
“The group is not yet fully formed. Sessions will soon become more intensive, with three half-days per week, and participation may still evolve.

We also had a former participant return, very enthusiastic about joining again, which speaks to the lasting impact of the project.

Love is a universal theme. However, the framework comes with constraints: participants are not allowed to share personal stories. The work therefore relies on a curated selection of classical and contemporary texts.”

Juliette Coulon:
“We are often surprised by their openness. Some are willing to explore areas we wouldn’t necessarily expect. The enthusiasm of being part of a collective project often outweighs any initial hesitation.”

Francis Kurkdjian Endowment Fund: How does the detention context affect the way you teach and lead workshops?

Juliette Coulon:
“What changes most is our awareness of how important these workshops are for them. They hold real value in their daily lives.

We are careful not to overstep boundaries and to respect their privacy. We don’t ask about their past, and there is no judgment.

The goal is to create a constructive and meaningful space. There is a sense of attentiveness, but also a strong desire to give.”

Francis Kurkdjian Endowment Fund: What do you hope participants will gain from these sessions?

Juliette Coulon:
“We can’t fully control what the experience will produce, but we do observe powerful outcomes.

Being able to reveal a part of themselves, to be applauded, and to feel a sense of pride is very important. Some may not have experienced that kind of recognition before.

We also see the emergence of a strong group dynamic. At first, they don’t know each other, but gradually a sense of solidarity develops. They support one another, offer feedback, and grow together.

It also allows them to explore more sensitive emotional registers, moving away from the usual power dynamics. They discover new texts, develop curiosity, and build confidence.”

Francis Kurkdjian Endowment Fund: Does the fact that the final performance cannot take place outside the facility change anything?

Juliette Coulon:
“Yes, of course. They were very motivated by the idea of performing in front of their loved ones, so it does make a difference.

That said, they remain quite philosophical about it. They are used to changes and uncertainties inherent to detention.”

Alice Hervé:
“Even when permissions are granted, release is never guaranteed. It depends on judicial decisions.

Despite this, the performance will still take place داخل the facility, in front of other inmates, professionals, and the prison administration. This remains meaningful, including for their personal records.

Participating in such a project is taken into account in their file.”

Juliette Coulon:
“Simply being able to leave their cells and take part in a creative project is already essential. There is, in fact, a high demand from others who wish to join the workshop.”