“In the realm of feeling, we are all illiterate,” Ingmar Bergman said. Scenes from Married Life, her film made for television in 1973, featured an x-ray of marriage and romantic relationships.
“Today is his most played work in the world,” says James Hyndman, who signs the adaptation and staging of the text, in addition to playing in this intimate drama tonight at Quat’Sous.
“The couple is a place of constant self-seeking through the other. His meaning escapes us, “adds his stage partner, Evelyne de la Chenelière. According to the actress, there is “a very strong identification phenomenon, a catharsis” which explains the success of Scenes of married life.
Aged 56, James Hyndman made his first appearance. The actor did his homework. Now he is ready to meet the public and live “a real experience of communicating with the audience”. “Beyond the meaning and purpose of the play, it’s still a pretext for theater,” he says. According to the actor, his years of psychoanalysis helped him to better explore “this extremely fertile and vibrant material”.
Despite its highs and lows, the couple is still the model of romantic relationships. Why? “Because the other is a mirror,” says Hyndman. And without a mirror, the human is facing loneliness. I was single over 12 years old; I lived it, this long way of loneliness. I had the same problems as Bergman … But, unlike him, I did not dive into it. And I know it’s cliche, but at the end of our life on our death bed, there’s only love left. ”
Programming: The urgency to say
The Jamais Lu Festival’s program will be unveiled today. This 18 th festival is propelled by the desire and the need to bring together three cultures – Aboriginal, French and English – about the question of how the art of the word, but also of listening, can they contribute to meaning of the word company?
With the collaboration of Nahka Bertrand, Pascal Brullemans and Alexis Diamond, the director, Marcelle Dubois, concocted a rich and diversified Montreal edition. It can count on the participation of about fifty authors and others. On the menu: readings of unpublished texts, poetic performances, festive cabarets and discussion groups.
The Jam Lu will open with a big garden party organized by Alix Dufresne. The creator of the Goddesses of Flies invited several artists to the evening, including Simon Boulerice, Nicole Brossard, Genevieve Pettersen and the musical group Comment Debord.
Dance: The myth Iggy Pop deconstructed
Requiem Pop is the last part of a triptych devoted to punk rock’s grandfather, Iggy Pop, following No Fun (2014) and Idiot (2017). In this creation of the choreographer Helen Simard, six dancers and three musicians explore the most recent period of the life of the singer and distill a reflection on the aging and the mythification of the artist. A work of turbid energy that is said to be both absurd and dreamlike, where chaos becomes a motor of virtuosity.
Dance: Dusting the traditions
Usine C hosts North American premiere Simon Mayer, a young Austrian prodigy, with his international success Sons of Sissy . At work in this group creation for four dancers-musicians a diversion of codes of alpine folklore that leads to a fresh look at masculinity and the relationship to the country and tradition. A crazy and enjoyable date to discover a new creative voice that makes her talk wherever she goes.
Theater: Royalally free
Created at the Théâtre du Nouveau Monde in November 2012, Christine, the queen-boy of Michel Marc Bouchard is the subject of a new production in Quebec, under the direction of Marie-Josee Bastien, with Marianne Marceau in the title role. “I chose to write a classic piece the way we used to do to portray heroes,” says the author on his official website. I have tried to explore the question that Christine of Sweden asks us, the one that confronts us more than ever to choose between the common good and our personal aspirations. And the notion of free will. ”
Theater: Where are the women?
If they have taken up a little more space in writing, women remain largely underrepresented in directing, especially on Quebec’s great theaters. This is apparent from the latest compilation of the 2017 and 2018 programming, produced by the Réseau québécois en études féministes. The main lines were unveiled last night at the launch of the women’s workshop on the place of women in theater, Espace Go.
On the Grand Plateaux, two Quebec theaters did not have a single female director, “a key position in production,” said Marie-Ève Milot and Marie-Claude St-Laurent, members of Femmes pour l ‘ equity in theater. Only advance in the last year: scholarships and other prizes were awarded to a majority of women, 58%.
For its part, Ginette Noiseux, director of Espace Go, promises to continue the lookout. “This is just the beginning!” The full study ( Women’s Place in Theater ) will be available online at the end of the month on the theater site