The scenes form the youth

After more than a year of scarcity, the youth theater is raising the curtain. Among the offers made to young audiences, Suzanne Lebeau and Marie-Ève ​​Huot explore the family and its complexity in a philosophical reinterpretation ofAntigone, while Karine Sauvé tells about her family life transformed after a break in the theatrical concert Songs for the museum. We chatted with them about their respective creations and the essential role that the stage plays when it draws a space for meetings between human beings.

Making theater for young people remains for Marie-Ève ​​Huot and Karine Sauvé – also good friends in the city – a space of freedom. The performing arts allow us to “get out of the everyday, from a rhythm imposed by routine”, reflects Marie-Ève ​​Huot. “We are everyone together, actors, children, adults, we think together and we feel ourselves breathing. It is not trivial to be an hour like this, in full consciousness. If we accept to enter these zones of intimacy and sensitivity, I dare to believe that afterwards, we are a human being a little more attentive. “

All the more so after the pandemic, adds the director. “I think we need this even more. There is widespread wear and tear which is quite alarming and I think we haven’t had many opportunities to get away from it all. And there, just the fact of seeing the world again, the eyes of the other, we are moved, we want to talk to each other, to touch each other, to start making projects together. “

Karine Sauvé goes on to praise the unifying virtues of the performing arts. “I find it very precious to be able to feel others in their reception. In fact, one of the things that always made me want to create for children is to feel them in the room; they are so spontaneous and real. There is something wild, free, that I love about this audience and that makes me a better performer. “A privileged meeting which can sometimes be a little uncomfortable, she adds, but” when the chemistry passes, it is even greater because of having lived it with other people “.

Free Antigone

The desire to make the spectators think, and to think with them, guided the playwright Suzanne Lebeau and the director and artistic co-director of the Carrousel, Marie-Ève ​​Huot, to Antigone under the midday sun, to be discovered from November 18 to 28 at the Maison-Théâtre. “The main character of the play, surprisingly, it is not Antigone, it is a narrator who challenges the spectators throughout the performance, who appeals to their critical sense by asking them questions”, specifies Marie- Eve Huot.

Sophocles’ tragedy thus becomes a pretext for exploring family themes, family secrets, internal wars. “We literally ask young people who, Antigone or her uncle Créon, with whom she has an important dispute, is right, but above all, we think about the notion of victory. The whole text unfolds in this way around fundamental questions about the meaning of life, existence, interpersonal relationships, ”explains the director.

Antigone remains a key figure in this rereading. In a soft and airy approach, far from the original tragic, Lebeau and Huot indeed offer a fluid and luminous Antigone. “I didn’t want us to be in a tragedy where everyone is screaming, where everyone is gutted, I want the characters to tell us their story with hindsight. It’s been 2000 years since that happened, and we are calling them today. What do they have to tell us, what did they learn from this tragedy and what can we too learn from this tragedy in 2021? »Huot emphasizes.

For Suzanne Lebeau as for Marie-Ève ​​Huot, the importance given to critical thinking is paramount in the theater, especially with young audiences. “It’s important to present this type of character. In fact, it is my whole approach, and it is based on that of Suzanne. We have a responsibility as citizens to know the rules, but […] we have the right to ask questions. I think freedom comes when we ask ourselves these questions […] What is important to remember from this piece is that Antigone listens to her conscience and ensures that she cannot be worthy if she ignores what her inner voice dictates to her. “

Dialogue with works of art

Karine Sauvé arrives with an intimate proposal in which she plunges into the heart of her solitude and begins a dialogue with art. “This story starts from real life. By separating myself from the father of my children […], several questions arose. […] At that point, I had a strong urge to find myself with works of art that inspire me to see if I could, while being alone, feel connected. The performer has engaged in what she calls camping residences and spent three days and three nights alone in workshops, immersed in the world of three artists. A benefactor moment, she confides.

This retreat gave birth to Songs for the museum, to be caught from October 21 to 31 at the Maison-Théâtre and from November 16 to 21 at the Théâtre Les Gros Becs. In this piece, the designer – accompanied on stage by musician Nicolas Letarte-Bersianik – presents herself as Karine Pas Sauvé, a mother who talks about the vertigo that accompanies her moments of loneliness. Advised by a Psykeleton, an osteopath of the soul – an invention of the co-author David Paquet – the young woman goes to three museums where she goes to meet works and sings in front of them. “It is the treatment that has become the play,” explains the artist.

In a staging after all uncluttered, Karine Sauvé emphasizes that the paintings of which the character speaks are described in order to “make works emerge in the minds of young spectators as if they were creating them themselves. […] I really trust their capacity for abstraction and their perspicacity as spectators. They have a great capacity for creation. “

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