Théâtre du Trillium

PROGRAMMATION

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Durant des années

At the crossroads of contemporary drama and true crime podcasts, For Years immerses us in rural Quebec in 1999. An island village, lost in the middle of the Ottawa River, becomes the scene of the mysterious murder of a teenager. It is with the aim of answering the questions surrounding this tragedy that, twenty years later, a journalist returns to her hometown to unearth (and divert) this heavy past. But this research was without taking into account the traces left by this event on the small community. How far are we willing to go for glory? After all, maybe some things are meant to stay buried…

After Néon Boréal, the Théâtre du Trillium returns with a new creation, the first digital audio episode of which was presented at the Zones Théâtrales in 2019. In keeping with the avant-garde practices associated with it, the Théâtre du Trillium teamed up with the Théâtre Catapulte for ambitious formal research and designed an interactive scenography generated by artificial intelligence. Blurring the boundaries between human and machine, documentary aesthetics and fiction, For Years echoes a wary era of the media in which journalistic rigor and “fake news” just like truth and falsehood mingle. within the same fresco.

Pierre Antoine Lafon Simard, Louis Philippe Roy

A co-production of Théâtre Catapulte and Théâtre du Trillium in collaboration with Zones Théâtrales.

Cohosted by Théâtre Catapulte and Théâtre du Trillium

Texte : Louis-Philippe Roy 

Mise en scène : Pierre Antoine Lafon Simard

Distribution : Danielle Le Saux-Farmer, Alexandre-David Gagnon, Stéphanie Kym Tougas, Gabrielle Brunet-Poirier, Lissa Léger, Sasha Dominique, Marc-André Charette, Jonathan Charlebois, Richard Léger, Carol Beaudry (voix), Isabelle Bélisle (voix), Josianne Lavoie (voix)

Conception d’éclairage : Guillaume Houët et Florence Letarte

Conception sonore : Olivier Fairfield

Conception vidéo : Pierre Antoine Lafon Simard

Conception de costume : Mylène Ménard

Sonorisation : Gabriel Martine

Conseillère dramaturgique : Dominique Lafon 

Régie : Mélanie Thévenaz

Direction de production : Geneviève Caron et Stella Chayer-Demers

Répétiteur : Anne Hamels 

120 minutes

PROGRAMMATION

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Blue light

Blue Light bears witness to the imprint of the phenomenon of technology and blue light on our bodies and on our lives. How does it transform us and modify our relationships with others? This is what inspires this choreographic staging project signed by Amélie Duguay.

Do we not remain trapped in the illusion of the artificial feeling of a reality always controlled and oppressed by an over-technological universe like a kind of shaken humanity?

Amélie Duguay and Théâtre du Trillium

Théâtre du Trillium

Hosted by Théâtre du Trillium

Director / choreographer: Amélie Duguay

Lighting design: Tristan-Olivier Breiding

Sound design: Lola Mael

Production manager : Laurent Forget 

Distribution : Calista Caron, Alec Charbonneau, Meggie Cloutier, Aude Mathieu, Sophie McPhail 

60 minutes

Post-show discussion on May 10, 2024.

PROGRAMMATION

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Dans la nuit ou était-ce plutôt le matin

Dans la nuit ou était-ce plutôt le matin invites spectators to feel the impacts that can be caused by a concussion using a poetic theatrical text, video and sound that pass through the skin . The play is performed by three actors who mix vulnerability, resilience and derision. It is also through these aspects that the flaws in our performance society appear. To this personal story is added a touch of fiction and humor carried by the deer involved in the accident.

A text by Elaine Juteau with the support of Trillium.

Directed by Elaine Juteau and Louis-Philippe Roy.

Territoire 80

Hosted by Théâtre du Trillium

Text: Elaine Juteau

Directed by: Elaine Juteau and Louis-Philippe Roy

Director: Émily Payeur

Performers: Alexandre Gauthier, Elaine Juteau and Gabrielle Brunet Poirier

Video design: Yves Whissell

Sound design: Thomas Sinou

Lighting design: Mélanie Whissell

Scenography: Andrée-Ève Archambault

Movement specialist: Laurence Castonguay Emery

Plume design: Emilie Racine

Production direction: Julie Guénnéguès (Théâtre Aux Écuries)

Territoire 80 benefited from the support of the Théâtre Aux Écuries Service Center for the creation of its show In the night or was it rather in the morning.

PROGRAMMATION

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Membrane

Membrane is the first queer science fiction novel in Chinese, written in 1995 by Taiwanese author Chi Ta-wei, a fervent defender of LGBTQ+ rights. The story takes place in a distant future where ecology is disrupted by capitalism and the earth’s surface is nothing more than industries and battlefields. Humanity had to settle in underwater cities where it could reconnect with the pleasures of the spirit and the flesh. Sexuality and gender have acquired a stunning fluidity. While identities and bodies are in constant metamorphosis, a fundamental question arises: what defines the human being?

After Olga Ravn’s Employees last season, Cédric Delorme-Bouchard continues his approach to stage writing around futuristic universes. The director and scenographer transposes this innovative text to the stage, in a sensitive adaptation by Rébecca Déraspe. Between shadow and light, dystopia and utopia, the piece performed by six exceptional performers explores with humanity the notions of identity and free will. A work with powerful resonance with today’s world.

Text: Chi-Ta Wei

Adaptation: Rébecca Déraspe

Director: Cédric Delorme-Bouchard

A creation of Prospero and Chambre noire.

Hosted by Théâtre du Trillium

Interpretation: Amélie Trottier, Evelyne de la Chenelière, Pascale Drevillon, Marie-Christine Lê-Huu, Sébastien René, Ines Talbi

Scenography: Cédric Delorme-Bouchard

Light: Cédric Delorme-Bouchard

Costumes: Marie-Audrey Jacques

Props and special effects: Olivier Proulx

Sound design: Simon Gauthier

Dramaturgy: William Durbau

Movements: Danielle Lecourtois

Director assistance: Sandy Caron

Video design and management: Samuel Boucher

Technical direction: Michel Saint-Amand

Production management: Catherine Comeau

1 h 30

Smoke and strobe effects

PROGRAMMATION

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DARKMATTER

Body, can you become (be) a hypothesis, a galaxy in full acceleration, a monstrous liquid star that cannot die?

In the duo DARKMATTER, Cherish Menzo and her partner Camilo Mejia Cortés seek, with the help of a Distorted Rap Choir, ways to detach their bodies from the daily reality of this imposed perception in which they operate.

For DARKMATTER, Menzo draws his inspiration from post-humanism, which aims to transcend corporeality. She also examines Afrofuturism, which means considering science fiction, technology, fantasy, etc. from an African or black point of view. The human form becomes something achievable that allows us to dream. Menzo also weaves a poetic layer inspired by astronomy. She is interested, among other things, in dark matter and black holes which meet and collide to create a new futuristic and enigmatic body.

DARKMATTER wants to wipe away this preconceived way of looking at our own body, the body of others and the stories we attribute to them. Menzo throws herself body and soul into the fray, which gives rise to a complex conversation that she wants to be both engaged and overcome. It is this duality that DARKMATTER helps to fuel.

As in JEZEBEL, she extends her gestural vocabulary by integrating techniques from hip-hop music. She thus applies the Chopped and Screwed method to her movements, a process which considerably slows down the tempo of the music. By stretching the notions of time, the register changes and the performing body emerges.

 WARNINGS :

Strobe lights, smoke, loud noises, complete darkness, nudity.

Earplugs available for sensitive ears.

Cherish Menzo

PRODUCTION : GRIP, Frascati Producties

COPRODUCTION : Kunstenfestivaldesarts (Bruxelles, BE), CCN-Ballet national de Marseille in the context of l’accueil studio / Ministère de la Culture (FR), actoral festival (Marseille, FR), STUK (Louvain, BE), La Villette (Paris, FR), Festival d’Automne à Paris (FR), Beursschouwburg (Bruxelles, BE), Perpodium (BE)

Théâtre du Trillium.

PREMIER : mai 12-15 2022, Beursschouwburg/Kunstenfestivaldesarts Bruxelles (BE)

CONCEPT ET CHOREOGRAPHY : Cherish Menzo

CREATION AND PERFORMANCE : Camilo Mejía Cortés et Cherish Menzo

LIGHTING CONCEPTION : Niels Runderkamp

MUSIC COMPOSITION : Gagi Petrovic and Michael Nunes

MIX : Gagi Petrovic

COSTUME DESIGNER : JustTatty.com

SCÉNOGRAPHY : Morgana Machado Marques

DRAMATURGY : Renée Copraij

STAGE PRODUCTION : Pauline Van Nuffel

SINGING COACH : Daniël Bonsu et Shari Kok-Sey-Tjong

ARTISTIC COACH : Benjamin Kahn, Christian Yav and Nicole Geertruida

VOIX DISTORTED RAP CHOIR via www.distortedrapchoir.com

WITH REFERENCES TO :

Act I of the American opera “Troubled Island” by William Grant Still (1949)

‘BLACKSPACE: ON THE POETICS OF AN AFROFUTURE’

‘The Mask’ de Paul Laurens Dunbar 

Choreography from Missy Elliot’s video clips: ‘Throw it back’ (2019). (If you are the choreographer or rights holder, please contact GRIP, so we can credit you correctly.)

The Mythology of the American electronic music duo Drexciya

RESIDENCES: STUK (Louvain, BE), La Villette (Paris, FR), Frascati (Amsterdam, NL), Beursschouwburg (Brussels, BE), CCN-Ballet national de Marseille as part of the studio reception / Ministry of Culture (FR)

IN COLLABORATION WITH: Trill (Leuven, BE), WijzijnDOX (Utrecht, NL), De Coproducers (NL)

FINANCIAL SUPPORT: Flemish government, The Performing Arts Fund NL, the federal tax shelter of the Belgian government and Cronos Invest

Strobe lights, smoke, loud noises, complete darkness, nudity.

Earplugs available for sensitive ears.

After show discussion on the February 16 2024.

Crédit : Bas de Brouwer

PROGRAMMATION

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PACIFIC PALISADES

In 2015, Jeffrey Alan Lash — who claims to be half human and half alien and works for the US Secret Service — is found dead in his car. Millions of dollars in weapons, ammunition, and cash are discovered in his garage. Fascinated by this event, a man flies to Los Angeles to investigate this mysterious individual. Crossing paths with the other skeptics who have gravitated towards Lash, he gradually discovers the multiple identities of the scheming fabulator. With help from interpreter Evelyne de la Chenelière, director Florent Siaud creates a hallucinatory thriller which reminds us that the powers of fiction are more fascinating and disturbing than ever in a world in constant flux.

Autor : Guillaume Corbeil 

Director : Florent Siaud

Les songes turbulents, a co-production with Théâtre du Trillium, Les Théâtres de Compiègne / Production partners, help and support : Mairie de Paris, Conseil des Arts de Montréal, Conseil des Arts et des Lettres du Québec, Conseil des Arts du Canada, DRAC Hauts-de-France, Département de l’Oise, Région Hauts-de-France, Région Île-de-France,  Centre culturel canadien à Paris, Centre des Auteurs Dramatiques, Chartreuse de Villeneuve-Lès-Avignon, Festival des Francophonies du Limousin, Centre du Théâtre d’Aujourd’hui.

Théâtre le Trillium

Autor : Guillaume Corbeil

Director : Florent Siaud

Cast : Evelyne de la Chenelière

Co-director : Juliette Dumaine

Scenography and costumes : Romain Fabre

Lighting : Nicolas Descoteaux

Audio : Julien Éclancher

Vidéo : David B. Ricard

“Pacific Palisades is an incredible and unpredictable show that is unlike any other. A completely crazy and daring gamble. A huge favorite, a must-see.” Frédéric Bonfils, Fou d’art

“In Pacific Palisades, the actress with the delicate physique will play… Guillaume Corbeil, the very author of this vertiginous solo set between fiction and reality.”  Marie Labrecque, Le Devoir

1h15min