A drink with Sophia Aram: “I’m less and less funny, but I don’t care”
“I’m learning to say no. It’s really good to say no. I advise you. It feels so good. » We had gone to the first familiarity, because it seemed to us to go hand in hand with an aperitif. Perhaps we also feared that the cucumber-apple-basil juice, ordered as a connoisseur by Sophia Aram and on which we had thrown ourselves to evacuate the problem of choice, would have no conversational virtue. This familiarity hadn’t seemed to shock the one who had taken almost three months to attract to a café. His tour in France to present The world afterhis fifth show, reduced his availability quite a bit.
We had understood that the perfectly squared twig still had progress to make in verbalizing the refusal when the photographer had suggested poses of questionable naturalness. “Drop your head towards the table. Again. More collapsed. And faster? » “We try with hands on feet? » She had politely complied, despite her doubts about what the images would wrongly suggest of her: just because she clowns around on stage doesn’t mean she clowns around when you look at her. “People are a little surprised sometimes, because I’m actually quite serious, she had explained a little later. I have my nose in the news all the time. This one not being very festive, I am quite serious. »
On reflection, however, Sophia Aram never stops protesting. Every Monday morning, at the microphone of France Inter, it is her rejection of everything that her contemporaries do that is cruel, imbecile, unacceptable, unfair, cretin, or absurd, that she affirms in a well-behaved child’s voice, with a slightly naughty air. To the violence of the Iranian mullahs, to the insulting vulgarity of some television programs, to the petty baseness of some or the hypocritical declarations of others, it opposes its derision with stubbornness.
Editorialist with an ironic tendency
Living in Trappes, Sophia Aram took to the stage of Déclic Théâtre like, and with, Jamel Debbouze. The small community scene in the city of Yvelines was aptly named. “When I started improv, we played to score points and win matches. I understood that the most effective way to reach people was to make them laugh. » His first show Lead in the head, she had built it from the story of the suicide of a teacher in the middle section of kindergarten and parents obsessed with the success of their offspring. The second, crisis of faith, was about the Jewish, Muslim and Christian religions, and the persistent difficulty that our societies have in making them coexist. The third, The bottom of the air scaresattacked in particular the rise of the extreme right.
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