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.
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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.
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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