ROME. SIPARIO. Giuseppe Grieco.
"Some performances are mysterious natural events born under a sign of grace. If you find yourself watching such a show it is best to let the magic work and to let yourself fall under the spell of move-by-move improvisation. So it is with "Huh?" which Yves Lebreton has been touring since 1973 with each new version arising Phoenix-like from its ashes, offering in fresh, dawn-like colours no less than the secret of eternal youth. The mystery of this performance given by Yves Lebreton in Rome is that it is timeless; it is born young and stays young with the 'unbearable lightness' of its candour. Even for someone who has seen it before the first impression is of extraordinary freshness. The reason? Lebreton's fresh invention which avoids the routine of rigid repetition sometimes found in forms left as sacred by their creators... this is why it seems always new eternal and unborn just as man is eternal and unborn. Yves Lebreton plays with basic emotions, the primary physical feelings. His character is a clown nourished by Beckett, Chaplin and Buster Keaton at the same time. It is the incarnation of our primitive fear and our daily anxieties: the fear of man looking aghast at the imminent mediaeval arrival of the year 2000, stripped of the 'great illusions' found in historical events. Yves Lebreton has the Apocalypse inside him, and it's precisely this that he succeeds in magically exorcising. The magic of his show is beyond discussion. Poetry becomes physical and is turned into a performance in the highest sense. So, in anticipation of his next show, announced as 'Flash', we can only applaud and thank him for the human message which he mysteriously transmits with his 'fables'. They are candid yet ambiguous as are all great fables in which man stands naked before his destiny".

ROME. LA REPUBBLICA. Rodolfo Di Giammarco. 01.12.1989
"Magic in a Suitcase. Great Lebreton. Vigorous. Precise. Pulsating. Comical. Ageless. Yves Lebreton's theatre concerns things. A theatre quite his own , giving life and vitality to a very simple and poor scenario. The show has the range and personal maturity of a repertoire which has been refined over the years. It is called deftly 'Huh?...' and has the structure of artifice lovingly produced by a grandchild of the magician Zampano, a feather-light fantasy...many universal connections are established between what might be called a body-script and the vocabulary of gesture, the solitude of Magritte and Beckett...His chaotic wealth implies and sublimates every technique close to theatre and derides the idea of a message. I defy anyone to remain indifferent before such an achievement. Thanks for the lesson and your elegant performance Mr Ballon, and we hope to see you again soon".

ROME. IL MESSAGGERO. Ubaldu Soddu . 03.12.1989
"Lebreton is only 43 and yet one has the impression that his performance quotes some of the most celebrated tumblers, mimes and clowns of the 20th century. Mr Ballon has a first rate acrobatic technique thanks to which he grabs at thin air and throws back echoes of the audience's laughter: more than just an actor with an original style he often seems to conjure up a circus atmosphere and surrealist magic. The way the public is drawn in is the most spectacular aspect, since surprise stimulates improvisation. Beware of the person who wants to make you think like him -this seems to explain the clown who provokes resistance, feeds you with psychic energy, aggresses those who want to capture dreams, stop games, suffocate fantasy".

ROME. IL TEMPO. Francesca Bonanni. 01.12.1989
"Lebreton's unbelievable surreal weapons. A warm applause to Mr Ballon. Yves Lebreton was formed at Etienne Decroux's Parisian school, but has partially re-elaborated the master's approach, rejecting the 'mime' label, that limits bodily expression to silence. In 'Huh?...', a time-tested performance, born some ten years ago, Lebreton offers a delightful demonstration of his conception of the artist. His performance inevitably quotes models such as Chaplin, Tati and Keaton, but has its own ironic tone, at times aggressive, at times naive and gentle, always slightly surrealist. The audience, fully involved by the substantial artistic parade, punctuated the show with their laughter, often applauding during the action".

ROME. CORRIERE DELLA SERA. Paolo Petroni. 06.12.1989
"Yves Lebreton is back and the public rush to see him...over the years, particularly for those who have never see him, Lebreton hasn't aged, or rather his art maintains that strength coming from the simplicity of everyday life transformed into the absurd, in his adventures of a clownish little man. The evening passes through a thousand improvisations, drawing in the audience until the final battle of balls of newspaper. 'Huh?..." -yes, exactly that, nothing to be surprised about but to smile and applaud the ability, the grace, his way of turning everything into a joke without making it seem less serious".

ROME. L'UNITA'. Rossella Battist. 06.12.1989
"Our Mr Ballon is not only a comic strip story-teller: his art is an acrobat's trip over the tight-rope of irony...he masters all the tricks of the trade, finely tuned over the years and now international, adjusting the mechanism with precise technique, exact to the millimetre in grasping the nuances of movement, in forming expressions and poses with his body which is as malleable as clay. 'Corporal theatre' as he likes to call it, which is easily transformed into simple emotion and spectator involvement".

ROME. CORRIERE DELL'UMBRIA E DI SIENA. Emanuela Imparato. 02.12.1989
"For the spectators turned into real protagonists, it's a feast. Amusement becomes ecstasy...the audience laugh and laugh, captured by a fabulous and joyous game recalling our childhood years. Yves Lebreton is truly an exceptional actor who subjugates his agile body to obey almost impossible commands, supported by a precise and defined technique, by constant creativity, to produce a theatre which thanks to him seems to have rediscovered a vitality coming from his roots, this profane comedy which is the reverse face of sacred tragedy. His art is not only that of the mime, the actor or the acrobat, but also the poet's -in the etymological sense meaning one who creates his spectacle as he lives. This is why his comedy is also bitter satire and melancholy: his view of the world through the surreal lens of the theatre".

MILAN. CORRRIERE DELLA SERA. Renato Palazzi. 13.06.1975
"An extraordinary demonstration of theatre apparently from thin air, but in reality supported by constant creativity, perfect technique and an outstanding ability to communicate with the public. The performance, free from all narrative preoccupations, follows a varied and complex pattern, orchestrated with precise alternating rhythms, practically a symphonic score of gesture. The result has nothing to do with traditional mime, but comes nearer to high class clownery, or the surrealist comedy of Buster Keaton".

MILAN. CORRIERE DELLA SERA. Giuseppe Tesorio. 01.03.1989
"'Huh?...' is back, with Yves Lebreton, poet of the stage. Yves Lebreton, just a clown...a little like Buster Keaton, or Chaplin, Mr Ballon is alone on the stage with his suitcase full of dreams collected from an antique shop of memories, always ready to laugh at anything...in the adventures of Mr Ballon there is an extraordinary purity behind every gesture, aver gag, every battle with objects. It is a surreal comedy bubbling with grimaces and going straight to the heart".

MILAN. CORRIERE DELLA SERA. Magda Poli. 05.03.1989
"Lebreton magician and clown. Mr Ballon is back, the irreverent and amusing character created by the Frenchman Y.Lebreton in his show 'Huh?...'. Since 1973 Mr Ballon has travelled across the world with his creator in a performance which has improved with the years like a good wine but which nevertheless remains basically the same. The same but also different thanks to the heavy load of creativity and high professionalism which animates it. Ballon succeeds in pulling the audience through a dizzy whirlpool, thanks to a strong taste for the absurd and a good dose of irony. Yves Lebreton is an artist who expresses himself with a high level of technique, the inventor of an expressive language which combines refined clownery, acrobacy, use of the voice, and mime all seasoned with a ribald and rascally spirit".

MILAN. LA REPUBBLICA. Mario Sculatti. 04.03.1989
"The classical spectacle of Mr Ballon is back: and once again we are charmed by the freshness of the French actor. 'Huh?...' is justly a famous and historic work in his repertoire. This work is 15 years old now, but it doesn't show its age and the public has confirmed this by making it a great hit. Mr Ballon resembles a character from one of Beckett's absurd plays. But there is something strange with Lebreton...when he comes into contact with the objective world he immediately provokes a comic-surrealist short circuit, twisting the meaning of anything he touches, making creative use of it, inventing unexpected analogies...Mr Ballon is a creation of lightness, coming from an airy and chirpy world discovers the earth's gravity and gives the levity it has lost. An everlasting masterpiece 'Huh?...' has been seen all over Europe always meeting with success. A classic, important event not to be missed, above all if you have never seen it".

MILAN. IL MONDO. Carlo Brusati. 03.07.1975
"A pessimistic parable characterised by a fresh language. Although the unusual character of Mr Ballon is sometimes close to Chaplin and Hulot with flashes of Calvino here and there, it is never a question of cultural theft. Lebreton always recreates with the mark of genius ".

MILAN. IL GIORNO. Ugo Ronfani.10.05.1989
"It is possible to laugh at anything, even fear and nothing. This is what Yves Lebreton demonstrates, clown of the breed of Vladimir and Estragon, Beckett's creations...There is a touch of the metaphysical in the 90 minutes of the disordered comedy of the show...Mr Ballon's 'big game' is life itself. Y. Lebreton catches the body's expressivity at birth and lives the tragicomedy of his own body on the stage...Lebreton's language is an instrument and weapon to provoke the audience, involve it, and pull it towards the purifying spring of derision".

MILAN. IL GIORNO. Giancarlo Vigorelli. 13.06.1975
"The other night Lebreton was alone, but he was enough. Alone as he was he replaced a whole legion of actors; he presented a legion of characters, or at least, he hinted at them. At the end of the show everyone in the audience has the feeling that they are in a forest of symbols, and they loudly applaud Lebreton, who has been able to come through with almost magical strength. Over an hour of uninterrupted, unbridled acting, with grace, candour and irony mingled in a rhythmic crescendo".

MILAN. EPOCA. Carlo Maria Pensa. 28.06.1975
"I can remember our emotion being stirred up many years ago at the Piccolo Teatro by a display of virtuosity by Marceau; but the technique, the poetry of Yves Lebreton are quite another matter. We meet with Etienne Decroux's classic style sprinkled with the satiric humour of Jacques Tati and Mac Roney's grotesque giddiness. ...How simple and clear his ideas are! Amongst the darkness of so much sterile avant-garde theatre this return to the non-artificial purity of gesture is a blessing ".

MILAN. CORRIERE D'INFORMAZIONE. Carlo Brusati. 12.06.1975
"...Numerous are the winks that Lebreton directs to the high-class clowns and the clowning itself. Each gag springs forth in a surrealistic rhythm where a large space is left to improvisation and to the reactions of the audience. But all does not end, as it often happens, in a soap bubble. The flashes of genius, the inventions and gestures cover over, in fact, an ironic philosophy situated in the background which ultimately becomes a history and vision of the world".

MILAN. LO SPECIALE. Cesare Sughi. 02.07.1975
"On our stages mimicry usually plays a minor part, and this is to be expected in a culture which, at least from the 19th century on, has focused its attention on speech and on the psychological and sentimental aspects. It's one more reason why we regret that Lebreton's workshops and performances in Milan have lasted just for a few days... In a performance like this, which is made of nothing and everything and seems to germinate and multiply scene after scene, one can read a variety of meanings -starting from natural happiness and social alienation. Lebreton obtains really surprising and innovatory results compared with traditional theatre which is mainly narrative and descriptive".

MILAN. IL GIORNALE. Magda Poli. 25.05.1986
"Yves Lebreton, an artist who escapes definitions, because none suits him. Yves Lebreton is above all a poet, a bit crazy, being able to carry the audience away and wind it into an infinite playful spiral. Yves Lebreton is an irreverent elf having a high technical standard, he is the inventor of an artistic grammar all of his own, in which very refined clownery, acrobatics, the use of voice and body expression come together with a whiff of old fashioned fairground artistry and above all a fine sense of the absurd and surreal which gives his art a rarefied taste of Beckett."

MILAN. AVVENIRE. Domenico Rigotti. 16.06.1975
"Actor, mime, clown, acrobat and more, Yves Lebreton successfully constructs a great spectacle. With a simple art, although extremely rigorous, offers an extraordinary example of the way one body by itself, urged on by intelligence, is capable of communicating a series of very subtle and disquieting emotions."

FLORENCE. LA NAZIONE. Paolo Emilio Poesio. 28.05.1978
"...Irresistible, staggering adventures... We are before a masterly clownery that has no breaks, before a mastery of the body obeying the most impossible commands... But Mr Ballon is not only entertainment. Ballon discovers the world, he sees suspect enemies in material things and also discovers love, here with a poetry akin to Fellini, by two small balloons, that are both bound to be destroyed...Grand finale; this defines Yves Lebreton's presence. A grand finale that teaches us to laugh and returns us to that joyful wisdom of an irony which does not lack poetry".

FLORENCE.. PAESE SERA. Lia Lapini. 28.05.1978
"A comic performance but in which an unbridled, devastating and aggressive humour expresses the tragedy of the human condition in the present age. Very lively and unassuming; gifted with the adventurous spirit of a neophyte, Mr Ballon undoubtedly belongs to the family of those sad and absurd clowns of this century including Charlie Chaplin and Buster Keaton".

FLORENCE.. L'UNITA'. Siro Ferrone. 28.05.1978
"Lebreton the imaginative artist designing with his body and the geometrical order of his props an abstract, surreal space, stimulating the freedom of his body exposed to the risks of improvisation, heightening his sense of opportunity, his intelligence his agility and putting him in close relation with his audience. Surrounded by the proscenium arch and slowed down, the clownery acquires an expressive density, provokes laughs, which is the aim of the surprising vitality of this actor".

FLORENCE.. LA CITTA'. Giovanni Ciattini . 03.07.1986
"'Huh?... or the Adventures of Mr Ballon' is one of those pieces that never grow old, just because its author conceived it as a theatrical journey through the comicality of nothingness. A comicality which is not tied up to the present but is an everlasting performance everywhere and for everyone. In the centre of the stage there is only him, Yves Lebreton, sometimes comparable to Chaplin and at times to Keaton, but if he has owed anything to anyone, now he should forget it. Lebreton has his own unique style... Alone on his island, the man invents his world. And while inventing it he enjoys himself. On the stage Yves Lebreton adds to this magical inspiration a matchless capacity to communicate directly with the audience, an innate ability to catch the spectators in the pleasant and accomplice mechanism of improvisation. His gestures, his thousand masks, his domesticated French are great fun. An actor sure of himself, an experienced but impure mime (silence is not his strong point), a surrealistic comic actor, Yves Lebreton will always be remembered as a former student of great Etienne Decroux's. But isn't there a story telling that one day the student surpasses his master?".

NAPLES.IL MATTINO. Franco de Ciuceis. 14.01.1990
"Mr Ballon is now again in Naples, greeted by extraordinary success and a packed audience, moved, spellbound and applauding.. A few props are enough to convey his provocations and then his sparkling physical activity, his continuous chatter in French transparent and colourful thanks to rich and effective gesticulation... Playful, ironic, sheer amusement, naive, fresh, liberating. Lebreton is an adolescent soul that restores to all of us a moment of innocence. We never wish to leave him and he will show us through new inventions how to empty a theatre, and quietly walk away, as a modest poet".

NAPLES. IL GIORNALE DI NAPOLI. Giulio Baffi. 14.01.1990
"Sweetness of gesture by Yves Lebreton. Missing from Naples for many years, he's now back with his old yet ever new performance "Huh?...". We are announcing an exceptional event: Naples will greet Yves Lebreton, a first-rate star of the theatrical universe. A hilarious lesson of theatrical behaviour, a grand surreal game of supreme elegance, humour, theatrical know-how. Yves Lebreton knows how to draw sparks of purest amusement from every scrap he has collected. And with this gallery of rubbish he creates the show, the rest is fantasy and nimbleness, his face capable of changing to a thousand tender disarming expressions, gentle and aggressive, his body capable of jumping from the stage to the audience almost flying over the heads of appalled ladies, the intelligence and genius of overwhelming little inventions, like a luminous wheel that blinds the eyes of the spectator".

BERLIN. DER TAGESPIELGEL. Gunther Grack. 07.05.1977
"Mr. Ballon is a clown, a lonely dreamer, a vagabond, ageless, a child-adult, a universal actor... What should I say to you? Cry with uproarious joy and unspeakable gaiety. You must go to his show and laugh with him".

BERLIN. BERLINER MORGENPOST. N.K. 06.12.1977
"The performance of Yves Lebreton refreshes you and stimulates you to think at the same time... Yves Lebreton succeeds by his gifts as actor and acrobat in captivating the public from the first moment of the performance to the last. Nothing but the radiance of his personality brings life to this naive, yet insolent representation... You must see Lebreton, let yourself be taken by the spontaneous play that he offers to our great amusement".

BERLIN. DER ABEND. Frank Pauli ". 07.05.1977
"Mr Ballon is the comic with tears... Far from the beaten paths of the art of the clown, he develops this tradition in a personal manner that is real poetry... It's a pleasure to see intelligent acting where the use of words becomes almost superfluous".

KOLN. KOLNISCHE RUNDSHAU. Annelice Odry
"...The comedy, the burlesque, and the clownery... at first sight this performance seems to be only entertainment but it is much more than that. The acting of Lebreton is open to interpretations on several levels which give the depth and dimension of the performance. After the outbreak of laughter, there are moments of silence and reflection. Then the laughter becomes consternation".

GOTTINGEN. GOTTINGEN-ALLGEMEINE. Petra Burmester. 11.12.1974
"...an unleashed, turbulent, dance party; the most surprising scenes of poetry and agility... The finale is really an orgy of laughter... The theatre was exultant with enthusiasm. It was marvellous".

AMSTERDAM. ET PAROOL. Ben Hurkmans. 17.03.1977
"...the metaphysics of pure clownery..."

AMSTERDAM. TROUW. Andre Rutten. 18.03.1977
Stupendous clownery. Yves Lebreton only rarely uses words. He expresses himself by a very varied, expressive and eloquent mime. Not only his face, but also his entire body, his arms, hands; legs and feet speak to us. By an extravagance full of subtility and exuberance which grow as the performance goes on, he reaches the climax".

AMSTERDAM. HANDELSBLAND. Jac Heier. 16.03.1977
"A virtuoso of the theatre. Yves Lebreton is a man of the theatre from head to foot. His performance is full of delight and impregnated with a light, existential melancholy".

COPENHAGUEN. FREDERIKSBORG AMTS AVIS. P.H.
"...turbulent, fascinating, amusing, touching, carried out with great ability and intelligence. 'Huh?...' is a performance that is hard to define; hard, because simple. Simplicity is an art that few artists can keep to".

VIENNA. KURIER. Rudolf John. 20.01.1977
"A philosopher-clown. Lebreton is marvellous for the subtility of his work, for his quick gestures which tell long stories, and for his cries and sounds which replace long discourses. With the only expressiveness of his body, a handful of props and some onomatopoeia, he shows the world of man, plunged in his own existence".

VIENNA. ARBEITERZEITUNG. S.F. 22.01.1977
"The total action of a clown. It is rare to see so an enthusiastic and active audience, shouting with joy as we saw it at Yves Lebreton's performance. When he plays tenderly with some balloons, when he is fascinated by his waving arms, when he experiments the different possibilities of sitting down in a chair, and when he balances himself on the back of an armchair above the head of the spectators, his acting always provokes a generous reaction from the public... But through the naive wonder and the roaring laughter, the art of the clown stimulates the deep and universal sadness of the human being. With modest means and without the words of a great poet, he creates 'total action' which the theatre his been trying to attain for many years. A single gesture from Yves Lebreton expresses all that many other skilled actors would take a whole evening to express without ever succeeding.

INNSBRUCK. TIROLER TAGESZEITUNG. Christoph Horst. 07.01.1975
"... an admirable performance, as tragic as it was comic and poetic. The character is a sort of clown who thrashes about amid the perfidiousness of everyday objects, he tries to give them life, he pets illusions... It is a theatre of great purity and authenticity".

BARCELLONA. EL PAIS. Joan De Sagarra. 11.10.1984
"What is the secret of this artist? His technical qualities, his communicativeness? It is difficult to say, probably it's his ability to grasp the childish side one can find in every spectator".

BARCELLONA. EL PERIODICO. 11.10.1984
"Yves Lebreton is an extraordinary actor. Amusing the audience with very clever comedy and keeping its attention almost without speaking. Lebreton creates his character with an incredible sense of art... and the audience smiles and often laughs through Lebreton's scenic poetry... A great comic, always preserving a wonderful sense of quality... An explosion of vitality through only one actor."

MONTREAL. LE DEVOIR. Robert Lévesque. 06.06.1983
"The heart of the Festival of Mime was beating. Yves Lebreton succeeded in carrying out something exceptional: a children's party before a thousand adults. Lebreton, in an unforgettable performance, awoke all the adult children hidden among the audience and very simply, i.e. by amusing them, by beating their boredom, by filling their lack of joy or by stirring up their madness, led them to the threshold of craziness and happiness... Lebreton can make mimicry become such a simple and intimate communication that a return to childhood - with tenderness, rather than infantilism - is guaranteed and it stirs up a 'subversive' madness... Apart from techniques, Yves Lebreton, in order to carry out such an innocent and unforgettable performance possesses an uncommon presence (should we say an irradiation?). If this Festival had been competitive, Lebreton would certainly been ahead in the race for the first prize".

LOS ANGELES. LOS ANGELES TIMES. Lawrence Christon. 25.01.1974
"'Huh?...'is a whimsical piece, Lebreton is a gifted clown and 'The adventures of Mr Ballon' is his mind-trip that goes on with apparently endless inventiveness and effortless turns, like a dream. He has some wonderful moments of play with the audience, which becomes entranced by his sense of innocent playfulness".

TAMPERE. KANSAN LEHTI. Kaija Pohjola. 11.01.1975
"Yves Lebreton expresses himself with definite originality, but one cannot ignore the link with a great predecessor Charlie Chaplin; the same disarming warmth, the same expressiveness perfectly controlled are displayed. The same sense of renewed fantasy, a notion of improvisation constantly provokes the public. The performance takes a critical glance at the world; a world in which man is trapped by the mechanisms of our society. We should see this sort of critical humour more often. It's a much more affective way of getting a message across than one of the best sermons".

REYKJAVIK. MORGUNBLADID. Johann Hjalmarsson. 16.06.1976
"Behind the farce, the exuberant game, Lebreton unveils our hypocrisy, the alienation that we must undergo in order to survive... Who is more serious than the clown in his own absurdity?... Lebreton's game is a constant creation. His performance must be considered one of the most interesting events of the Art Festival. He removes people's Sunday clothes and arouses in them a poetic view of the bare everyday life".

SAN DOMINGO. LISTIN DIARIO. Marianne De Tolentino. 07.05.1976
"Yves Lebreton, a marvellous and admirable actor-author... The performance of great richness and exceptional presence is in the hands of one sole character who lives and makes us live the absurd, ludicrous and manifold adventures of Mr Ballon... a poet who has the virtue to materialise dreams and illusions, creating a magical world of continuous discoveries and inventions... the triumph of communication with the audience".

CARACAS. THE DAILY JOURNAL. Frank Soler. 05.1976
"'Mr Ballon': A Laughing Gas. The actor remains alone throughout the performance, but then again, any added characters would have been superfluous given the tremendous force and magnetism that this man has. He dominates the stage and the audience completely with his incoherent mumblings and schizoid ramblings. 'Mr Ballon' was a resounding success".

SAN PAOLO. VISAO. Carlo Ernesto De Godoy. 31.05.1976
A performance without any gratuity, and in which the humour was born out of the poetry of being alive... When the performance ends, the communion with the audience is so total that the actor leaves the stage almost carried out by the ovation of the audience... Who is Mr Ballon? His stature is small, his steps rhythmic, innocence is in his eyes like purity is in his hands. An elf? A clown? Perhaps a sign of our time, the fable of a lonely man who learns to live with the world from which he demands a meaning and in which he searches for any traits of identification. But trying to analyse it would be as incongruous as attempting to explain Charlot. It is useless and dangerous because 'all angels are terrible'".

SAN PAOLO. VEJA. Jairo Arco e Flexa. 26.05.1976
"Thanks to the great communication he establishes with his spectators, Yves Lebreton attains an absolute success. During the hour and a half performance he creates an irresistible atmosphere of solidarity with the public. Moreover he creates a 'game' in the profound sense of the word, a communion full of sensitivity, intelligence and energy from which no one can decline and in which all those who participate are offered an extraordinary pleasure... Even if the performance is based essentially on a rich corporal expression, Yves Lebreton uses his voice as well. With a few sentences and many interjections, his intentions always remain clear and comprehensible. An artist, by himself, who attains the greatest theatrical moment of a festival, deserves to be introduced to a much larger public and for a longer time".

SAN PAOLO. JORNAL DA TARDE. Sabato Magaldi. 17.05.1976
"'Huh?...' is a theatrical work of impressive and exceptional richness... Although the basis of Lebreton's work is mime, it has no resemblance to that of Marcel Marceau or any other artist of the same style. The grammar of his art is defined by a total originality in which are fused mime, corporal expression, acrobatics as well as the voice with an occasional use of words; all of it is composed in a climate of surrealistic associations between the images, movements and sounds... It is Yves Lebreton's explosive vitality that makes his performance the most dynamic and enthusiastic of the International Theatre Festival of San Paolo".

SAN PAOLO. O ESTADO DE S. PAULO. M. Alves de Lima. 16.05.1976
"Mr Ballon is a product of theatrical imagination. He exists on stage not only as an everyday life character, but also as a fictional character. Apparently with no pretention, Yves Lebreton's approach leads us to think that one of the most dynamic qualities of artistic creation is still the pure capacity of going beyond the immediate image of things endowing them with a new function".

SAN PAOLO. ULTIMA HORA. 19.05.1976
"Yves Lebreton's conception and interpretation of 'Huh?...' is at the origin of one of the greatest pleasures I have ever experienced in the theatre. His performance is a magical event. Mr Ballon is a character who is fascinating and unforgettable. He reveals the latent child inside each of us without so much as leaving the world of the adult. He joins together Chaplin, Lloyd and Keaton without being equal to any of them. During his entire performance, Yves Lebreton holds his audience without release. His fluent, versatile, vibrant work, full of colours and lights, develops towards an irreversible form. It proceeds on the path of pure theatrical joy, commemorates representation under all its forms, re-invents at each moment the actor on stage. You must see him. How could you do otherwise, if he leaves a smile in your heart?"

SAN PAOLO. AQUI. Hella Schwartzkopff. 09.06.1976
"Yves Lebreton is an extraordinary actor possessing a marvellous agility and technique. ... It has been a long time since a performance has given us as many laughs and enchantments without the appearance of the phantom of distrustful and bitter criticism... Yves Lebreton, like a magician, re-animates and transforms things by giving them a multitude of new meanings... The audience enters with him into a world where each gesture is charged with strength and signification, where the distance between the actor and the spectator is annulled to the advantage of a union communicating life".

RIO DE JANEIRO. JORNAL DO BRASIL. Yan Michalki. 18.05.1976
"'Huh?...' a curious one-man show of the French artist Yves Lebreton, provokes a lively communication with the audience. We are before a mime who doesn't mime. In fact, his frantic physical activity seems to arise more from the acrobatics and humour of the circus. But, after all, it is more correct to say that it deals simply with a fascinating performance of non-verbal theatre, where the conflict between man and his environment unfolds itself simultaneously as comic, violent and tragic. Possessing an uncommon range of physical and humorous resources, Lebreton is the surprising attraction of this Festival of Sao Paulo".

BAHIA. TRIBUNA DA BAHIA. 03.11.1977
"An amusing performance, its creativeness is out of the ordinary and it is addressed to a public of all ages. Lebreton's performance is a permanent explosion of laughter... there are tenderness and poetry, wrapped up in an irresistible comicness that satisfies any kind of audience, belonging to any social or intellectual standard".