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The Visit [Book staging]

This weekend, the room Lionel Villeneuve (which houses the Theatre Mic Mac ) took, in all likelihood (although I rather the look ...), land Saguenay site while a team has embarked on the task of painting the scenery The Visit by the model proposed.

Here is a series of photographs (Christian Roberge) that show the evolution of work:

On the photo shows four major collaborators (mostly the costumes of record) of this production: Lise Ouellet Nicole Guillemette, Melanie Tremblay and Lucie Guillemette

Change 1

Change 2

Evolution 3

Final result ... finally, pending the doorways

Decor versus mock

I admit to having a haste to go immeasurable (in a short week) to see what happens gives true with actors in costume on this stage who does not represent any particular piece, which has no mimetic function but rather a dynamic function unavoidable (especially given the slope, the perspective, the doors, the area of backlash).

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The choralité, plastic foundation

If there is one principle which I particularly like the theater, it is that chorus, choralité, choral effect. It is, in my view, one of the most theatrical of the forts, theatrically speaking.

The choralité , according to Christophe Triau (in the important issue of the journal Alternative Theatre # 76-77 on choralité) wants foundation, basement. This is from the set to build the game on the shelf, not an afterthought to reinstate the unit on a platter and split hierarchy. The assembly is first, and is promised to diffraction - And it eats it .

I like the idea of making this principle a base, not an accident or a simple effect. This is not a denial of the individual, far from it. The willingness of all is instead on the recognition of inalienable singularities [...] : whole issue of choralité becomes - and it never ceases to tell the board to represent this tension - the construction of "common" this "being together" is anchored on (and not against) the singular and the solitudes .

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A "Shipyard" in Saguenay

Hall Cultural factor, Jonquière. It's cold enough ... The piece that presents is Shipyard, a text by Jean-Paul Quéinnec (whose writing aqueous deserves an analysis in itself ...), a theater production Always on the Horizon of Larochelle.

A text then. A text and actors ... the decor has not found a place in the suitcases, travel savings oblige.

outset the subject does not resonate in my imagination. Historically rooted in the region, before being Jeannois Sagueneen, the shipyard is an abstraction for me, just as big as it is. And yet, there is a breath here, unvarnished findings may be relevant as well to the agricultural world that forest the industrial world while aluminum and paper: the end of a lifestyle The sinking of the benchmarks, the quest for a new world ...

On site, the workforce decreases progressively for years. One night, Francis, Claude and his two son Andrew, Lili's uncle, decided to sink the ship they just built. And disappear with him. Nine, the wife of Andrew, who is one of the sailors in the port bars, joined them for a final exchange. Watched The inhabitants of Pallice gathered by Guiguite sister of Francis, the boat is sinking into the icy water. The men run and three women: Nine, my cousin, Guiguite, wake Jacques, the younger brother, all four go to 6000 miles to a country where all white they reinvent their lives *.

Writing dense, frenetic ... French ... Such a wave of words that overwhelm the performers who measure it. A rapid and uncompromising writing that constructs a fable legendary family by a series of narratives most often monologic . The ear should abandon them to taste the rich, absorb it to seize, overcome the difficulties caused by accents and expressions typically European to bring out the pleasure of listening to these distant voices. Writing demanding.

The parts follow each other on an elliptical fashion, at the risk of surprise and disorient the viewer: on the waterfront in the hold of a ship over a mountain to witness the sinking of a boat ... All care-yet-despite some lengths some unity and coherence strong enough to make the connection between the audience and stage.

The game is notable: a display of precision and accuracy accented Needless to say, the lack of scenery and props; bodies that are held and provide a frontal particular where looks are fleeting; an appetizer efficient and dynamic. Backed by a soundtrack permanent, it sometimes takes on the appearance of choreography (like restless sleep on the floor near the dance expression or synchronized swimming) and physical numbers (as the actress reversed reciting his text) that may weaken be the balance of the tray by calling other types of game levels that mainly used, closer droop.

In sum, this proposal aesthetic (and scenic!) Of Boatyard works, despite the physical constraints and has the dual advantage of writing to discover and to reflect on itself ...

________________________________________

* Many links can be made between this text and Dredging : strong presence of water, shipwreck, emigration, new world.

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In theater, this week! (From February 27 to March 5, 2011)


Fairly quiet this week ...

Today - February 27, 2011
Hall Cultural Factor (Jonq.), 14h

As part of his visit to Saguenay-Lac-Saint-Jean, the French company La Rochelle, Theatre Horizon always present, in collaboration with The Happy Heads and Chair of Theatre Sound UQAC Boatyard, a play by Jean-Paul Quéinnec. At Pallice, a district of La Rochelle, lives a family of shipyards. Year after year, the workforce is decreasing. One night, Francis, Claude and his two son Andrew, Lili and Uncle decided to sink the ship they just built and disappearing with him. The ship sinks under the eyes of the inhabitants of Pallice. Men run. Three women wake Jacques, the younger brother, and go with him to 6000 km, all white to a country where they are reinventing their lives.

Today - February 27, 2011
Room Murdock (Chic.), 14h

Vicky Simard Patrick Cote and present the results of their research and exploration of their handling of puppets Duplex . A project that promises (see my article in the View and that of the Daily )! Puppets, manipulators ... When one is upside down the other ...

Monday - February 28, 2011
Bluff Bar (Chic.), 20h

the Heads Happy offer, through the passage of the troupe Larochelle Always The Horizon , The Theatre in the making, a public reading of playwright current European and Quebec, by French actors and Quebec ... Last chance to meet the French!

Thursday to Saturday - 3 to 5 March 2011
Room Murdock (Chic.), 20h
(and Sunday, March 6, 2011, 14h)
LAST CHANCE!

second and final week of representation Duplex , Vicky Simard and Patrick Côté. (See above for some details).

's it, I think.

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A little baby ...

This week, the couple trained actors Marie-Noëlle Lapointe and Pierre Tremblay (Grossomodo Black Clown) was augmented by a new girl, Romane. Congratulations to them!

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Between his silence and his way ...

Have attended one of the performances Project end bacc. William Gagnon, Silence Shift , according The Unnamable by Samuel Beckett. Despite a slightly confusing start (where the audience came in the room too quickly), it was a meeting of a proposal strong and aesthetically interesting.

After a moment spent in the inter-room carpet of dead leaves, scales and fans, with text on mute, the viewer is invited (well. ..) to enter the room (the Studio Theatre) in the middle of which lies a pile of chairs. The black reigns ... except for those bursts of blue lights on the ceiling. A show about the silence? In the distance, an echo, a voice. A fluid voice, without pause, a monolith of aggressive words and mesmerizing. Who speaks? Who? Why? When? And the words continue, questioning the answers themselves questioning the questions. A tautology that is rooted in the actor, perched in a corner, motionless and almost invisible. Irremovable. A text that strikes so much by his discourse that is felt by the listener more than is understood by its continuous flow. An exercise requiring storage and rendering that is is a fine achievement. Anick Gagnon was seconded by Martel to the staging and Luis Gil Ortegal sound.

__________________________________________________

Then, the evening does not stop there, I also took the opportunity to see the project (always end bacc.) Gabrielle Noumeir-Gagnon, I make my way . An autobiography of a scenic forty minutes.

So, the project is a little tricky ... Before it (and all others like it), a question arises: where it is going exactly? Confidences therapies?

On a soundtrack that will not stop throughout the show - a soundtrack that interconnects with a real interest the tale of the ugly duckling, sections of the Civil Code, definitions, enumerations, poems, texts and personal "interviews" - isolated Noumeir-Gagnon in a confined space by a large black tulle at the center where she acts. It illustrates, initiate a silent dialogue with her own voice that resonates in the speakers, swinging a long rope that crosses the space vertically. Scenically, the proposal (which goes from theatrical to documentary to the inquiry to the public) can not support representation, however. A shortage is felt. In this context chosen by the designer, the lack of permanent director becomes the main problem ... Intimacy is a subject so vast that one can easily get lost. Nevertheless there was still beautiful pictures, beautiful moments that we would have liked to see last.

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The difficulty of self-denial

I just found in the 52/54 issue of Alternative Theatre (December 96) a good sentence to illustrate the importance of teamwork, work in close collaboration between the actors on stage:

This is not for you to play the king,
is your partner to make you king!

These words - which reflect a true philosophy of the game - are Thierry Debroux, an actor, playwright and director in Belgium.

Indeed, it is sometimes very difficult to remove the interpreters of their egos to open at the other, to make them understand the importance of play for its first partner to provide, in some sorts, a mirror ... or a pedestal (the highlight without adulation ...). But too often it remains focused on itself in search of a character who will front the detriment of all ...

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And another first! Finding

For Vicky Patrick Simard
side and as well as all their staff
Emily Gilbert-Gagnon, Laurence Lemieux, Janine Fortin and Isabeau
side who will stand up tonight, the curtain on Duplex ,

SHIT! !

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If you still believe in the utopia of a democratic state, a bourgeois state, of an egalitarian society, it is the utopia of a group of people , wizards, who are paid by the bourgeoisie to him they have a mirror of herself and that magicians can ask lies, difficulties, disasters, structures of the society in which we live. If you share a certain cynicism, very materialistic, that we see everywhere today, we can say that the theater as an experience of enlightenment, it no longer exists.

These words are Ostermeir Thomas, a young (he is 42 years old) director who made a sensation (and part of the great artists of the contemporary avant-garde) over the past fifteen years, in Germany mainly and the world in general. At thirty, he was invited to join the management group's artistic Schaubühne Berlin. These words, "I said, are therefore Ostermeier and are drawn from an article Relevance and potential socio-political theater , published in 2004 in the eighty-second issue of Alternative Theatre .

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The Visit [Book staging]

In rummaging through my books in search of a potentially interesting topic, I came across a definition (in the Encyclopedic Dictionary of Theatre Michael Corvin), which could well apply to the play The Visit or especially not you feel compelled to come! Michel-Marc Bouchard.

COMEDY WITH DRAWERS: In these parts, the main character is usually drawn into a series of short scenes which are juxtaposed with no other concern than to give to see a gallery of portraits and embroidering variations around a theme. [It seems to me that this is exactly what happens in this room ...] are encountered in this construction The Bore (1661) Molière, Le Mercure galant (1683) of Boursault The original (1737) Fagan. In nineteenth century, the comedy often turns drawers number of actors: Samson to admire his game and that of Provost in Family Fish (1845) he wrote himself, in The Misanthrope and Auvergne (1852) Labiche. (JM Thomasseau)

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The French are coming!

Decidedly, then it ready!

While Happy Heads and Chair of sound dramaturgy UQAC receive Theatre Also on the horizon Larochelle for a few days (the whole week there will be activities related to the visit) another French company arrived last night by the Park and criss-cross roads at the same time to give, as I understand, school performances. This is the Theatre du Versant (Biarritz). Their site is here .

In a few weeks (in July say), it will be, as I noted here last week, Now Theatre Mic Mac receive the troupe one theater to another Orsay .

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The Visit [Book staging]

Instead of theories or opinions, here are some photographs (in full yard!) Of the first part taken over by Christian Roberge the last weekend of rehearsal, in a setting still under construction. (Well. The images are only to give an idea of what happens to this show ... even if they do not give a fair value of the articulation of these incredible scenes!)

The decor gross ... before processing theater!

Meal with the stepmother ...

's friends ...

family ...

The family party ...

was here last weekend with the crew ... before that of 26 and 27 March ... a few days before the first! Whatever. We placed the last part (Act III, in some ways) of this piece ... for a performance that will approach (the two hours. Six more days to come!

There are beautiful scenes and others that are a little less. The pace is becoming more and more and the fact have an overview - and articulation of the show, and issues, and character development - gives a sudden decline in benefit of the parties to resume complete with a new perspective.

The sequences of the weekend - there were two - have filled an essential role: to reassure the team at the time the actors have for costume changes for the effort they must provide. The project cleared suddenly and shows the points to be considered for the following things:

- for example, the sound of footsteps on stage and behind the scenes that echo on the wooden floor;

- as For example, the rigor and precision to be applied throughout the show;

- for example, the balance of the plateau which sometimes has difficulty making;

- for example, openness to others that is sometimes lacking, so that actors are too focused on their character and less on the whole;

- Finally, and perhaps most importantly what can we learn from the exercise, it becomes obvious to all that comedy is not not in ease and stuffing individual (not a comedy show), but in the rigor, precision and virtuosity of a whole which listens and grows in the same direction.

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"The critic's lament solitary (D. Cote)

Here are excerpts from the editorial side of Daniel, cultural journalist by profession, appeared in the latest edition of Progress -Sunday (or yesterday's ). I belong here, although they differ somewhat from the strictly theater, because it is a particular response to Joel Martel's View (this column after ) - that I 'I, too, Cloven (well. ..) in a ticket February 10 - and a response to criticism from various the same environment (which I shared extensively on this blog, since 2007). Point of view, therefore, on the other side of the coin:

The critic's lonely lament

[...] After seeing how some artists could show, even when criticisms leveled by critics drowned in an ocean of compliments, Joel Martel lamented the timidity of the local press. When she discusses the works designed by people here, "empathy outweighs the franchise," he states.

This is not the first time that such comments were made. A few years ago, about the same kind had been held at the Radio-Canada. It's like the monster of Loch Ness. This theme reappears from time, but each time, it remains in limbo. It is suggested that journalists lack courage, but without elaborating. [...] [...]

I do not mind critical reviews, including those from our publications, but I'd rather see other newspapers, other stations out their comfort zone. Where appropriate, I'll be the first to rejoice if different views. It will be interesting press releases disguised as news.

About the content, otherwise, I assume that to my boss is the reader. Not the artist or colleagues. When I go to a show, I realize what happened, while delivering some considerations that merit is the only reflect my opinion.

I am building on my experience as a journalist, which does not strike me as a weakness. I am neither a musician nor an actor, and I brace. If someone wants to know if the soprano has missed a note in the middle of his recital, I want to say: "Get a life." [...] [...]

Another clarification I think helps to bring about my approach shows. In this regard, my tastes do not matter. I seek to determine whether people who appreciate the artist was paid back. [...] [...]

As creators of the area, I find them much merit to persist as they do, but that's not reason enough to entice readers to attend to their productions. It has to justify the move, which I must say, is generally the case. They do not need a journalist handout criticism complacent.

I found important in this perpetual debate on critical ( criticism in general), to give this vision ... I respect that view although I do not entirely agree ...

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In theater, this week! (From 20 to 26 February 2011)

last full week of February ... already ... and again, the theatrical activities are numerous:

Monday and Tuesday - 21 and February 22, 2011
Salle Pierrette-Gaudreault (Jonq.)
pm Monday, Tuesday am and pm

The Category receives Bluff Theatre and its production blaze in school performances only. In the schoolyard, Jonathan embraces Latifa. It is a thunderbolt which disrupts the witnesses of the scene - girls, boys, teachers and even the director - a passion which, like an eclipse observed with the naked eye, dazzles and burns their eyes. At the intersection of the clip and the oratorio, the score blends boldly luminous poetry, dance and music, come to rekindle in us the flame and excitement of first love.

Tuesday - February 22, 2011
Café Cambio (Chicoutimi), 17h

The Happy Heads Chair in Drama and sound UQAC invite you to a special appetizer (5 to 7) to be held at Café Cambio, Tuesday, Feb. 22. This is an opportunity for the entire theater community to meet, in a friendly, Always on the Horizon Theatre Company Larochelle crossing the Saguenay, and share with them our various practices.

Merc. to sell. - 23 to 25 February 2011
Studio Theatre (UQAC), 19h

Next is William Gagnon to present its draft late bacc. (Under the Festival of arts graduates UQAC 2011), Silence capital. Where now? When now? Who now? Without asking. I say. Without thinking. Call them questions, hypotheses. Go ahead, call that going, call it forward. - Samuel Beckett, The Unnamable . If I understand this is a collage of texts by Beckett.

Thursday - February 24, 2011
Center Sagamie print (Alma), 17h

As part of its passage in Saguenay (see 22, 25,26,27 February 2011), the company Always on the Horizon will present a preview of excerpts from the play Shipyard Jean-Paul Quéinnec be presented in the following days.

Thursday to Saturday - 24 to 26 February 2011
Little Theatre (UQAC), 20h

Also as part of the Festival of arts graduates of UQAC 2011 (and to close the series performances in theater), it is the turn-Gagnon Gabrielle Noumeir to his lap with I my way, his own theatrical creation. You you ever imagined going into someone's head and see his life through his eyes? This show makes you hear and see the bumpy ride of a character in search of his own life .

Thursday to Saturday - 24 to 26 February 2011
Room Murdock (Chicoutimi), 20h
(and Sunday, February 27, 2011, 14)
FIRST WEEK

Vicky Simard Patrick Cote and present the results of their research and their exploration of the manipulation of puppets with Duplex . A project that promises! Puppets, manipulators ... When one is the reverse of the other ...

Friday and Saturday - 25 and February 26, 2011
Hall Cultural Factor (Jonq.), 20h
(Sunday, February 27, 2011, 14h)

As part of his visit to the Saguenay -Lac-Saint-Jean, the French company La Rochelle, Theatre Horizon always present, in collaboration with The Heads Happy and Chair of Theatre Sound UQAC Boatyard, a play by Jean-Paul Quéinnec, at Le Mont-cultural factor of Jacob, 25 and 26 February at 20h, and Sunday, February 27, to 14h. At Pallice, a district of La Rochelle, lives a family of shipyards. Year after year, the workforce is decreasing. One night, Francis, Claude and his two son Andrew, Lili and Uncle decided to sink the ship they just built and disappearing with him. The ship sinks under the eyes of the inhabitants of Pallice. Men run. Three women wake Jacques, the younger brother and go with him to 6000 km, all white to a country where they are reinventing their lives. is the first time we will have the opportunity to see a play in Quebec by French playwright Jean-Paul Quéinnec, now based in Chicoutimi, professor of theater at UQAC and holds a Canada Research Chair in Drama sound. Several texts by Jean-Paul Quéinnec were published and assembled in France. This show we will hear a voice absolutely contemporary, even obsessed, it seems, by the old sea shanties and pushed us. (Ref.: Heads of Happy )

looks like another good week!

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The Visit [Book staging]

I put a picture (of me) the model of the decor The Visit ... because finally, in the fifth weekend of rehearsal, we will repeat in a space enclosed by these walls pierced.

Since the beginning of the adventure, we have tilted the floor (small enough, in fact ... with, front, sixteen feet wide at the rear, 10 feet and twelve ... feet deep) ... but placed on the stage open. I repeat myself but never mind ... The number of inputs and outputs of this appalling production so consistently placed players waiting around. Became the focus stage, so, more difficult to achieve.

Now it will be a thing of the past. The camera triggered by the appearance of the walls, the impression of confinement, crushing, can be beneficial in the evolution of this show. The adjustments will be much more effective.

We also take this weekend to do the traditional dinner production, event designed primarily to meet the team in other omens ...

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text spectacular

Petite concept very interesting text on the theater (and even more so, on what would be appropriate to call the spectacular text) taken from an article written by Josette Feral , critic, theorist and professor at the School of Theatre at the University of Quebec at Montreal ( text spectacular scene and text) and published in the journal Degrees, numbers 97, 98 and 99. Concept a bit complex, however, opens up many avenues of thought.

Eugenio Barba, recalls, outset that the word "text" before designating the text spoken or written, printed or manuscript, meaning "weaving." [...]

Taking the definition provided by Barba, Franco Ruffini proposes to advance the issue, a distinction that seems interesting and splits the text into two components: the "text text" and the "scene text. [...]

The text of the text, said F. Ruffini, is "rigid, oriented, programmed. That conflict and the fable "and it would feature the sequence of events, a certain predictability intended by the original text is a certain rigidity of the shares. Reports linking a piece would be identifiable primarily through the plot. [...]

It is not the same for the "scene of the text" that is represented "by the character and everything that relates to (replicas, micro-situations), above, in margin of the "direction" imposed by the conflict and the fable. " The scene of the text would feature some simultaneity and unpredictability unleashing the director and actor. It would be "flexible element, not oriented, non-programmable "show. [...]

So there duality in the character. Part of its operation falls within the "text text" and the other from the "scene of the text" (the two comprising the dramatic text); part would be predictable and some would not. It is in this unpredictability that belongs to the character that fits the actor. It is precisely this unpredictability that makes the "interpretation" that this actor makes such a character. It is this unpredictability that even a space between the narrative and action which fits the vision of a director Directed and creativity of the actor in the role he must embody.

With some time to start my real doctoral research, this article gives some impetus to the theoretical clutter in me.

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Regret

While I am in Quebec since Monday, I missed all the performances of Cabaret Against Contrecoeur. .. Damage. Strongly renewed!

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Fun. On

Emilevich Vsevolod Meyerhold painted by Alexander Golovin

Petit being set scene this morning ... Another of those moments that makes me meyerholdiens good read from time to time because he always brings me back to something essential: the theatrical pleasure as the basis ...

This time it fired the fourth volume of his writings on theater , published in 1992 in Publishing Age d'Homme (Lausanne).

The actor can improvise when he feels happy inside. Outside an atmosphere of creative joy, jubilation artistic, the actor never discovered in all its fullness. That is why repetition, I actors often shout: "Good!" This is not good, not at all well, but the actor intends to your "Good!" - you look, and now he has really played. We must work in joy and merriment! When I'm in rehearsals irritable and nasty (it happens), I m'invective cruelly back at me, and I regret it. The irritability of the director instantly paralyzed the actor, it is unacceptable, as is a disdainful silence. If you do not feel the eyes of actors, full of expectation, you're not a director!

There.

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hourly schedules

Every year, each season at each project, when it comes to scheduling rehearsals, the adrenaline and frustration too ... immediately suppressed by a good knowledge of the environment and its operation that forces the anemic softening ... but still ... This exercise forced

always turns into a vain attempt to square the circle. In an environment like ours where the actors can not devote to their work, it must balance family, classes, appointments, work, commitments ... while trying to stick to a principle sometimes utopian: to preserve the quality of life of participants, the quality of work to do by creating a schedule that will breathe while moving up nicely ...

Because we have no means of our ambitions ...

It always happens ... but often tortuous detours have been compromised and many ... __________________________________________


The other side of the coin is much darker and more aggressive ... or when schedules are made and suddenly, the requests are pouring from all sides (for contingencies) and forced to play again in this grim puzzle ... because between the time the actors have received and that day, everyone has filled the holes in his schedule for that family, which for a course, which for an appointment, which for a job, which for a new commitment ...

Dien forbid this year!

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Back parliamentary ... a week late! The Mic Mac

Oops ... I escaped it! Here's the cartoon made by the theatrical outbursts Garnotte (cartoonist at Duty), dated February 9, 2011, the day of opening of Parliament in Quebec:

theater or the circus? The question sometimes arises as to the cynical (and sinister) show the period Question ...

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walks ...

The good news from Mic Mac Theatre (see their site here ) which will have a chance to surrender, in the months to come, its production last year, The Trapping Pascal Chevarie on the road ...

Indeed ... in September (from 8 to 14), the cast (and the show!) has been selected to represent Quebec at the International Theatre Festival of Mont-Laurier (see here) ... to measure up to twenty troops of many countries! Unless otherwise stated, representation on the 9th.

Subsequently, from 6 to 13 November of that year, the troupe was invited to make an exchange with a theater troupe the Other in Orsay, France. The latter will also present The Invaluable Ridicules of Molière in the context of cross Lac St. Jean this summer (July 26 to be exact). A short trip on European soil ... my first in a work environment!

It goes without saying that before undertaking these trips, a short trip Saguenay (at the beginning of fall) is needed to ensure the smooth running of the show on tour ... and validate the adjustments - particularly in regard to the decor to be easier (from 8 to 6 panels) without losing its interest ...

So early in the coming summer (odd to say that the heart of a storm!), The show will be delivered on site rehearsals ...

Bel fall into perspective!