Why to sing la Marseillaise ?
With Philiboss, Vahina et Belle-ZĂ©buth
Philiboss Sings La Marseillaise to me ??? How Strange… Wonders Vahina…
đș Vahina is clearly wondering: “Why is my master singing the national anthem in his bedroom?”
đ Belle-ZĂ©buth: Okay, we need to talk. I don’t understand Philiboss.
Last Sunday, Philiboss was at church. So far, nothing unusual for a good Provençal man.
Except that… instead of praying quietly like everyone else, he started singing La Marseillaise
to Vahina, his Siberian husky.
Not discreetly, mind you. NO. As if it were the most normal thing in the world:
“Loulou, the hour is grave…”
“Allons enfants de la patriiiie…”
“Ba da bam, ba da bam!” đ„
đ Watch this first. No, really. You’ll understand.
đ Belle-ZĂ©buth: Vahina, you’re my witness! He’s gone crazy! He spends his days praying for the peasants,
for France, for humanity… And now he’s singing the national anthem to you! What’s next?
The Declaration of Human Rights as a rap?!
đș Vahina: *deep sigh* Woof… woof… woof…
âïž Belle-ZĂ©buth, you raise an interesting point. But let me remind you what Jerzy Grotowski said
in Towards a Poor Theatre (1968): “The actor must strip away all masks to reveal
his profound humanity.”
What you call “madness” is actually what the great masters of theatre call
radical stripping. Philiboss singing to his dog without worrying about looking ridiculous
is exactly what Grotowski was talking about: being authentic even in absurdity.
Moreover, in my 35 years of observing the stripped masâ I mean, Philiboss â I’ve noticed
that his most ridiculous moments are also his truest moments. It’s fascinating, really.
đ Belle-ZĂ©buth: Wait, you’re saying that singing La Marseillaise to a dog
is… pedagogical?! Vahina, even YOU know that’s nonsense!
You’ve seen him do this for years, you can’t tell me that’s normal!
đș Vahina: *wise look*
âïž “Normal”? Belle-ZĂ©buth, Sanford Meisner said: “Acting is living truthfully under
imaginary circumstances.” Philiboss LIVES these moments. He doesn’t “perform” them. The difference is crucial.
And yes, after 35 years by his side, I can confirm: his moments of total authenticity often resemble
madness. But it’s sincere madness, not calculated.
đ Philiboss: Okay, are you done talking about me as if I’m not here?
Listen, I’ll tell you something. When I sing La Marseillaise to Vahina, you know what happens?
I’m PRESENT. Completely. There’s no more Philiboss “performing,” no more theatre teacher “demonstrating.”
There’s just a guy singing to his dog because in that moment, it’s TRUE.
And you know what? Vahina doesn’t care if it’s “well sung” or “appropriate.” She’s just THERE.
Present. Without judgment. She’s the best audience in the world, this dog.
That’s what I teach my students at Acteur.Studio: find an audience that accepts you completely.
Then you can dare anything. For me, it’s Vahina. For them, it’s their scene partners, their rehearsal room,
their safe space to be ridiculous and real.
đș Vahina: *looks at you, dear reader*
âïž You know what’s fascinating? This scene you just witnessed isn’t just entertainment.
It’s exactly what we explore in the Stanislavski method courses: the courage to be authentic, even when it’s absurd.
Stanislavski called it “public solitude” – being completely yourself while being watched.
Philiboss has been training actors in this approach for 35 years. And yes, it often starts with exercises
as ridiculous as singing to your dog.
Because if you can’t be authentic in front of a husky, how will you be authentic in front of a camera?
*thoughtful tail wag*
đ Conclusion
Philiboss sings La Marseillaise to his dog. Is it absurd? Yes. Is it ridiculous? Probably.
Is it authentic? Absolutely.
And maybe that’s what real life is all about: stop pretending to be “normal”
and accept being truly yourself, even when it’s weird.
Because nobody remembers “normal” people. But a guy who sings La Marseillaise to his dog
in his bedroom? That, we remember.