A majority of the shows next season are shows that have survived, that have found maturity, that have dug much deeper thought into their subject matter.
argues Sylvain Bélanger.
The co-director of the CTD’A cites as an example titan bodyby Audrey Talbot, which was only seen by a few hundred people in the spring of 2021. This piece inspired by the long stay in the hospital of its author, who came close to losing her life after an accident de la route, will launch the 2022-2023 season in September.
Sylvain Belanger
Photo: Ulysses del Drago
The theme of proximity to death, but also of survival, is also at the heart of the two pieces that will close the new season of the CTD’A, in April 2023.
The girls of the Saint-Lawrenceby Annick Lefebvre and Rébecca Deraspe, features a variety of female characters who discover, one stormy evening, seven corpses on the banks of the St. Lawrence.
The play was presented last November in Paris, at the Théâtre national La Colline, which is directed by Lebanese-Quebec playwright Wajdi Mouawad. The cast, which notably includes Elkahna Talbi, Catherine Trudeau, Émilie Monnet and Louise Laprade, remains unchanged from the Parisian performances, rejoices Sylvain Bélanger.
The co-director of the CTD’A is particularly proud to welcome for the first time Camille Paré-Poirier and his creation I will come less oftenbased on a podcast about the relationship between the young artist and her 91-year-old grandmother, who died in a CHSLD during the pandemic. It’s very very rare in the theater that two generations like that talk to each other
he assures.
It’s really a season of survivors, survivors, mostly stories that have matured. But it’s also projects that finally find their audience, that have held up
says Sylvain Bélanger.
For me, it’s really a season of victory, it’s really a season of spring, of multiple outbreaks
.
living lab
The originality of the forms of expression is one of the trademarks of the Center du Théâtre d’Aujourd’hui, as evidenced by several productions that promise to be particularly colorful.
” What we present to people are really objects of reflection and theatrical acts which are carefully thought out, then which have found very, very original forms. »
In Mauritiusa dramaturgical experiment on aphasia, the author and actress Anne-Marie Olivier will call on a volunteer spectator every evening to collaborate on her story.
With Piss standing up without lifting her skirtOlivier Arteau has created an autofiction at the crossroads of happening theater and multidisciplinary events. The piece, which seeks to blur the traditional codes of theatrical performance, includes video projections as well as musical numbers.
Olivier Arteau
Photo: Radio-Canada
Olivier is someone who is not afraid to put himself on stage, to reveal himself, explains Sylvain Bélanger. There, he really wanted to work on the question of shame. He always wanted to camouflage the feminine in him, so we are really in the question of genres.
Finally, the walking comedy Cycloramaby Laurence Dauphinais – which questions the abyss that separates the English-speaking and French-speaking artistic communities of Montreal – will take place in three different places: at the Centaur Theatre, in the bus that will transport the public, and finally in the Michel -CTD’A nightingale.
The Théâtre d’Aujourd’hui is truly a creation factory. We must always listen to our artists
says Sylvain Bélanger.
They should never be put into boxes, into production moulds. I said to myself: this is really a good time for their projects to lead the theater. I gave them shoes on their feet and the right broadcast tools for their shows.
This text was written from an interview conducted by Catherine Richer, cultural reporter for the show On 15-18. Comments may have been edited for clarity and conciseness.
Reference-ici.radio-canada.ca