Discover Interchange Rates

"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 ...

Can I Get Rid Of My Lazy Eye At Age 14

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!

Gold Bars In Dubai Airport

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 ...

Quo Makeup Brushes Review

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.