Going through the viewer's point of view seemed fundamental to us because it is through this that we can define the "cinema effects" often referred to as cinematographic impressions. This led to several theoretical work sessions (with M2 students at the University of Besançon, with students at the ESAD Paris) in conjunction with Mildred Galland-Skymkowiak, who directs the "Vocabulary of Identification", Marie Martin and Alain-Patrick Ollivier, to define more precisely the terms identification/hypnosis/projection/empathy/Einfühlung. At the same time, we have opened several practical workshops: 

- working on the same scene according to the desired effect on the spectator (who often projects something else!) (session in Besançon and at ESAD Paris with the students) 

- applying Jacques Rivette's method for performers around improvisation and secrecy with theatre actors (session at the MC 93 with professional actresses) 

- embodying a spectator's view through the stage (session at ESAD Paris with the students) 

- working on the phantomization of the actor by an exact reproduction of all the movements and temporalities of a film extract, the three actors on the stage being asked to play the five actors in the film and thus to superimpose two space-time periods (session at the Studio-Théâtre de Vitry with the professional actors) 

- constructing a methodology of theatrical adaptation focused on the actor by transposing that which Rivette uses to create his cinema from the synthesis of several novels. 

A final, longer and more accomplished stage of work enabled us to formalise a method, bringing together the ESAD class, the three professional actors, as well as Anne Monfort and Laure Bachelier-Mazon, who had been leading the project together from the start. We, therefore, developed three approaches:

1- The actor/reader: actors use the memory of their reading experience to produce motifs that will be included in the score.

2- The actor/dramatist: approaching the matter through memory and reading impressions enables the integration of unconscious work that operates through transfers, synthesis and projections. Each actor articulates their emotional journey through the work with the common score woven from superimpositions and subterranean shifts. During this gradual development, the score turns into a material that fuels the play. 

3- The actor/editor: the superimposition work requires extremely clear transitions from one figure to another, from one temporality and one space to another: the actor is the editor. 

From a teaching perspective, the student actors needed to participate in the entire process, accompanied by the entire team (actors, director, dramaturge) to coordinate these three areas of work upstream and on the fringes of the stage. It is not a matter of turning the actor into a director or a playwright or of moving a cinematic performance to the stage, but of developing a style in which the actor's theoretical knowledge of audience reception, his or her experience of texts before the stage, his or her stage writing and his or her ability to edit are all tools in themselves.

 The entire project is documented in the Cahiers du studio de Vitry and on the Hypotheses website.