How did you access the theater world?

I started 20 years ago in the "Jostakin" group, with my friends, giving some theaters at Makea parties. Therefore, the emerald theater of Sancho the Fort or Miramamolin is the culmination of an adventure somewhere, because at the time we were already with snow. Trying to move forward, when the others were in football training, I had theater at Chimères. Because I was missing from school, I needed a job and I trained in theater.

Which of these principles retains memory?

I remember the atmosphere: we were approached by a lot of the people, we were meeting different generations and, being a comedy, laughter was very federative. Jostakin was founded by our mothers and their desire was for everything to be done in Basque. I teach children's theatre courses in Makea and Izturitz, and I know that the environment makes us in a group: we do theater in a good environment, always in Basque and the objective is to connect the Basque to the good moments and memories. I want to complete that affective link between the Basque Country and the theatre, because the process of Euskaldunization goes by there.

Did your mothers have that reading or the relationship that existed between the two that came by themselves?

I think there were two. On the one hand, they knew that in Iparralde there were lots of theatrical groups. At Makea, they wanted that environment. On the other hand, they were mothers of Seaska; twenty years ago the installation of the child in the ikastola was militant and Jostakin was part of that militancy.

He referred to this French Basque Country which had many theatrical groups.

It was known to our mothers, but it was already disappearing. In most villages there was a rupture, it was not transmitted or the new generation did not welcome it. Since then libertism has been moving, but it is not for children or adolescents. Antton has the formats [Luku] and Makean also works because we were formats. In Iparralde only five theatre groups are in Basque for children and adolescents. It's not normal. Only in theatre and in Bertsolarism are we insured the Basque one, because we use the word, but either dance or ball, they can and are made in French.

But the audience is there. They have had six performances and 2,800 spectators.

Obviously, but the public is also because libertism has changed the public. In general, in the theatres of the villages the audience is rather old and the one going to the theatres is also old, white and bourgeois. Libertism changes things, they are suddenly young and their friends will listen to them. Libertism has grown a gaze, created culture buffs and now they also appear on horse-riding, pastoral and masked. We call it Zirtzil-connection. We have developed a connection and a network between the necks of [libertism]. They are also compromised. To enter the Basque community of Iparralde, you have to overcome three initiatic rituals: getting permis, collaborating with EH, and doing libertism.

It has also been in another environment: In the famous Comédie Française institution. Founded in 1680 by King Louis XIV, to place the reader, and still today in the heart of the Palation of the King.

It's the oldest theatre company in the active world, Molie's old, that is, it's not a typist thing. Artistically it has been very interesting to me: I had board directors and excellent actors, we were about sixty as a company and we have made the holidays of Christ. But it's not because the ttip is attached to power. The trovators and the surgeons were expelled from the calostras and went to the hostels and then the private theater for the bourgeoisies emerged [XIII-XIV. for centuries]. We needed tickets, money, therefore patronage... The theatre we know today is the result of the time change. Artistically it has its advantages, but at the same time it is the art of a concrete social class: everyone can go but it is not for everyone. Comédie Française is connected via balconies and underground steps to the Constitution Council and the State Council. Think that to go to the Ministry of Culture you don't have to go out in the street. The union between power and art is becoming clearer after the rising rise in the French system. When I was at the National Theatre in Lilles, we had in public Martine Aubry, who was Mayor and Minister, or Gérard Darmanin, Minister of the Interior, and we sold ourselves together, because adjacent overnight stays or soyans are also work. The same with patronage, when Rothschild comes to us with his champagne pyramid, while we are in the SMIC [minimum wage]. The dramatists and the companies that re-use the French system are not the best but the best related to donors.

How did it last?

I'm a bear, watching him go to the lodge and I would get drunk, usually alone, because my friends knew they had to be there. But I haven't suffered that. It was also a problem to be Basque. In times of confinement they said “Il faut apporter la culture où il n´y en pas”. They have a colonialist vulgar view. As a Frenchman, because the French Republic made everything out of its territory and wants culture to get closer. But here? We have pastoralists, liberations, bertsolarism… When I showed them that I had contempt and truffle in response.

If the class is strong.

We are at the SMIC and we have Guillaume Gallienne asking us “I want luxury, don’t we have caviar?” There's actually soda in culture, but we're in liberalism: you've got tremendously precarious, always at work, and everybody else, because they get even more to give up. Were we not left? Don't we have a moral? That is the French system. How do we want Euskalduna? With the Basque popular theater, we could maintain the relationship of strength with the entity/system, we could propose an alternative. It's complex because we have to live those who have that profession. The problem is that money is always distributed to them.

And how did Basque identity locate within?

I was upset by the accent. “You don’t have to end, you have to master,” they told me, but in the end they wanted it to disappear. I've gone a long way from dating the orthophonist and phoniatrist. The theater was my life, I was eighteen years old, I sacrificed everything, I didn't live young in Basque Country. I had the opportunity to do a great career, I was told about capabilities, so I was willing to give everything: I had to end the accent. If he had the refrain at 10:00, at 07:00 he was in front of the miracle, the stylus in his mouth [pen] doing exercises to remove the accent… After entering Euskal Herria he needed fifteen days to “clean” the accent, which was the word used. I got it: the phoniatrist told me I had no more accent. There it had the physical influence that each language has [the movements and positions of the language], but that could not take it away.

Are you now selling off that contempt?

It's possible. To take revenge or in my house I wanted it with mine, because there I was never part of them. We were on tour with Christophe Rauck and he threw me out. “And did Peio hold the beeps in your Basque mountains?” So I decided to leave everything and leave. These notes are very violent, everything is very violent and I was just holding on. The ecosystem is very special. But here we go: We were told that we were “elite of the French public theater” as we entered the Comédie Française. Your ego swells, you take the posture of “stand, I have to pass.” At first I didn't have, but slowly I started to explode. I discarded the best friend to get Shakespeare's Richard of Bolingbrok's role. It's starting to put the police aside.

No bad thing that you returned to the town before corrupting.

When I understood that world could, I took advantage of the lockdown and returned to the people. Knowing that it was also happening here: the family was expanding, before I had my nephews there ... I got bored with the life and the urban environment of Paris -- and the liberations were also there. However, I needed to have my brother Xan. “You are at the house of the colonialists,” he said, to read past thoughts, and I “what?”… At the same time, I went away from the nationalist world. Sometimes you have to go to realize things. My brother was coming to me, if we had very interesting debates and conversations. Theater has strengthened our relationship. On the other hand, I really liked it, but ...

Libertism has been of great importance.

I read about the Libertitz of Lucius, I saw what libertism caused thanks to my brother in the Make and thought “there is something very important going on”. I didn't want to pass. What do we do is Basque theatre or Basque theatre? That's a question we need to have. Libertitzeaz offers the possibility of creating a real Basque theatre, or at least some hints of reflection. I was proud and with a thousand ideas in mind from Paris. I decided to leave professionalism because it doesn't go through professional playwrights -- and it's not capable, it's not. We have to reedit the theater culture that we lost, and I don't think I would do it as a professional.

Maternal or professional, the issue has long been debating in Iparralde.

That debate is there because Euskera has no cooficity in Iparralde. Of course, if you don't do the amateurs, you won't do the theater in Basque. In Donibane Garazi, for example, in Axut, Amua and a couple more, last year very few theatres were published in Basque. It's not normal. It was an amazing dynamic 20-30 years ago, but now! In Iparralde we have done the same with Basque culture: We have left all the Basque position to Seaska and Euskal Kultur Erakundea and professionalization have appeared, to whom we have left the position of Basque culture. But that is not possible: in our situation, we cannot react like a bourgeois.

I read to him that they wanted Sancho the Fort or the emerald of Miramamolin to be popular theater. What is popular?

My definition of popular theatre is that of French theatre culture, Jean Vilar and his generation: What is done outside Paris – well, we are fleeing from that – and I support what speaks as much as possible – there is no need to demagogy or to tempt the ambition to be able to speak to everyone. In Euskal Herria, we do not have the same relationship with literature and theatre: the liberticula are there and that makes us lose all the equation. But yes, when it is popular, the one who goes to the theater can enjoy as much as an expert in culture (it is not a marginal nehor and everyone perceives that eating). Everyone lives the same moment and the work, but each from their identity and their point of view. I wanted to make a theater like this. I don't know if we've done it, but the audience we've seen could say yes.

We've also done this in the total scenography: our condition was to have stems and drinks, and a charanga à la carte. My initial intention was to organize a party – eat, drink and dream – but through the theater. I based myself on the theatrical performances of The Globe Theater in the time of Shakespeare that I dream. They didn't have the relationship we have now with the theater, it was wilder at the time. We know a little about this type of theater: libertism or the masquerade (people are standing, have coffee or beer by hand, we go with friends and comment on what we see...). I wanted to take those liberating codes and confuse them with the theater, eliminating the liturgy and ceremonial that exist today in the theater. It is also difficult for us. For example, I didn't want greetings, I wanted to be told the charanga right away, but those in the group have enough: so much work and, of nothing, we only have applause...

Do you want to go back to the stage after the performances?

When I heard Guard Pitika's note, I decided not to act anymore. In the end, I found it very violent to be on the table. It was no more pleasure if I wasn't fired by the audience. It wasn't nice. Therefore, I will continue with children and adolescents, because I think that is the key. For them we need people willing to run theater groups. Is it possible to set up a carrier group training?With the emerald theatre of Sancho el Fuerte or Miramamolin, people have seen the result of a group of children and adolescents twenty years later.