For his 54at season, the Center du Théâtre d’Aujourd’hui (CTD’A) offers a 2022-2023 program full of introspective productions, giving free rein to the creativity of most female artists. The Montréal institution is also taking advantage of the lifting of most sanitary measures to provide a second wind to jobs that have suffered from a lack of visibility over the past two years, or whose design has stalled during the pandemic.
Most of next season’s shows are shows that have survived, that have found maturity, that have dug deeper into their subject matter.reasoning by Sylvain Bélanger.
The co-director of CTD’A cited as an example titanium bodyby Audrey Talbot, which was seen by only a few hundred people in the spring of 2021. This part will be launched inspired by its author’s long hospital stay, who was about to die after an accident on the route de la. the 2022-2023 season in September.
The theme of proximity to death, but also survival, is also at the heart of the two pieces that will close the new season of CTD’A, in April 2023.
The girls of Saint-Lawrenceby Annick Lefebvre and Rébecca Deraspe, features a variety of female characters who discover, one stormy night, seven corpses on the shores of St. Lawrence.
The play was staged in November in Paris, at the Théâtre national La Colline, 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 performances in Paris, which Sylvain Bélanger enjoyed.
CTD’A co-director is particularly proud to welcome for the first time Camille Paré-Poirier and her creation I come less oftenbased on a podcast about the relationship of the young actress and her 91-year-old grandmother, who died of a CHSLD during the pandemic. It is very rare in the theater that two such generations talk to each otherhe assured.
Season really of survivors, survivors, mostly matured stories. But it was also projects that finally found their audience, which took a whilesaid Sylvain Bélanger.
For me, it’s really a time of success, it’s really a time of spring, a lot of proliferation.
living lab
The originality of the forms of expression is one of the trademarks of the Center du Théâtre d’Aujourd’hui, which has been proven by several productions that promise to be particularly colorful.
” What we show people are really objects of reflection and theatrics that are carefully thought out, then found in very, very original forms. “
Sa Mauritiusa dramaturgical experiment with aphasia, author and actress Anne-Marie Olivier will call on a volunteer spectator every night to collaborate on her story.
Sa Piss standing without raising her skirtOlivier Arteau created autofiction at the crossroads of happening theater and multidisciplinary events. The piece, which aims to blur the traditional codes of theater performance, includes video projections as well as musical numbers.
Olivier was someone who was not afraid to put himself on stage, to show himself, Sylvain Bélanger explains. There, he really wanted to work on the question of shame. He always wanted to camouflage the feminine in him, so genres are really what we’re talking about.
Finally, the walking comedy Cycloramaby Laurence Dauphinais -who inquires into the depths that separate Montreal’s English and French -speaking artistic communities -will take place in three different venues: at the Centaur Theater, on the bus that will take the public, and finally at Michel -CTD’A nightingale .
The Théâtre d’Aujourd’hui is truly a factory of creation. We should always listen to our artistssaid Sylvain Bélanger.
They should not be put in boxes, in production molds. I said to myself: this is definitely a good time for their projects to take the lead in theater. I gave them shoes on their feet and the right broadcasting tools for their shows.
This text was written from an interview conducted by Catherine Richer, cultural reporter for the show At 15-18. Comments can be edited for clarity and brevity.
Source: Radio-Canada
