Aurore Chassé has been artistic director of La Terrasse since September 2017. She designed the model with the typeface Basetica (205TF), created by Matthieu Cortat. Basetica is paired with Romain (Swiss Typefaces). The only one of its kind, La Terrasse, a free monthly created in 1992 by Dan Abitbol, ​​covers the theatrical, choreographic and musical news of the Paris region and highlights the living spectacle of quality in all its diversity.

Poster for a theatrical play at Von Krahl Theatre.

Maxime David:

As part of his second season at the helm of Quat'Sous, director Olivier Kemeid wanted to deepen our connection with the social body: "But who has the power in the City, and what power are we talking about?"

Power. The word can make one tremble: one immediately feels the sprawling arms of the state, this cold monster, which inevitably influences our lives; we can also see the tentacles – to stay in the octopus – of the one who seeks to dominate, even master the body of others...

But let's not forget that the word "power" is also a verb, and that it calls for freedom, or at least for widening the horizon: power, it is to be able, to hold the faculty, to express a possibility, to have the permission, to foresee a possibility. It is to define a desire: ah, if the theater could change the world!

See also: Théâtre de Quat'Sous 2017/18.

Putting the theatre’s philosophy at the season’s forefront “l’ailleurs” — “Here, we play with elsewhere”. For the 2016/17 season, the actor’s relation with oneself can be felt through a myriad of emotions. Art must exist in a world of excess and brutality.

photos: Jean-François Brière

“Metric in use for the theatrical, understated rebrand of the New Theatre by Interbrand in Sydney, Australia.” — Klim Type Foundry

Visual identity for music theatre group Ausdauer. L’Histoire du Diable is a remake of Strawinsky’s l’Histoire du Soldat (1918). The play is situated in a smoky bar in Paris, right after WWI. A group of soldiers play an alienating mix of Strawinsky, Jazz, marching music, as the innkeeper tells her story. She was there when things went wrong in WWI. Moreso, she was decisive, maybe she was the devil in person. Or so she claims.

Describing events instead of actually showing the action onstage was the starting point for the posters, flyer and a small facebook campaign. A dadaïst lettering for the title is paired with vernacular, centered typography. The big words under the title say: “Funny. Macabre. The show you visited after all”. In referral to silent movies, a set of dialogue cards were made for Facebook. The cards show grotesk facts and numbers from the Big War, cameos from the play and newspaper quotes.

Facebook campaign. A set of intertitles with quotes, numbers and pictures related to the play are mixed with selfies from the theatre group.

Poster (above) and flyer (below). Failure and mistakes play a major part in the text. In print, half of the message is printed upside down. A failure with advantages: The poster is complete, whether theatres stick a date sheet on the poster or not, and the flyer is readble in any position.