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
A group of black performers take over the stage like Muhammad Ali took over the ring: flying like a butterfly and stinging like a bee. Boxing is a wonderful metaphor for the fight of Black people, both in a fight for equality in a white society and in the fight of any racialized actor or actress to increasingly take their place. and his freedom on Quebec stages. Armed with the sharp language of the immense Congolese author Dieudonné Niangouna, energized by the explosive gestures of the choreographer Claudia Chan Tak, the cast brilliantly imposes the unity of a black presence and its plurality of cultures, generations and backgrounds. .
An actor prepares to enter the stage to play the role of MohamedAli, recounting his fights, those of the boxer, such as his victory against George Foreman in Kinshasa in 1974, but especially those of the political activist, including his refusal to go fighting in Vietnam – a soliloquy which constantly brings the actor back to his own condition.
By making this monologue a story of several voices, the questions, lived experiences and actions recounted there take on a powerful collective magnitude. In turn and in a spirit of unity, the bodies find themselves crossed by the actor, by Ali and by life in Quebec.
This performance is in French with English surtitles on the 3:00 PM show of April 6th, 2024.
Text: Dieudonné Niangouna
Directed by: Philippe Racine and Tatiana Zinga Botao
A production of the Théâtre de La Sentinelle, in co-production with the Théâtre de Quat’Sous and the Festival TransAmériques.
Hosted by Théâtre de la Vieille 17
Author: Dieudonné Niangouna
Directed by: Philippe Racine and Tatiana Zinga Botao
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.
Angel is a young man dreaming of writing the first successful indigenous science fiction book; as for Corinne, eleven years his senior, she is a young woman of Jewish origin who teaches indigenous literature at the university. One evening, without the shadow of a consultation, friends are invited to the couple’s table. The latter are the very image of all their contradictions, representing two social clichés at the extremes of each other: Angel’s indigenous radical activist “boyfriends” and Corinne’s intellectual environmentalist and vegan friends.
On the menu of this satire is a portrait of our irreconcilable cultural differences, moose meat and a vegan lasagna. Everything is therefore in place for the grand deployment of this situation comedy which allows us to thwart predetermined roles and open the door to a space of conciliation.
This show is in French, surtitled in English.
Text by Drew Hayden Taylor, translation by Charles Bender, direction by Xavier Huard
Menuentakuan productions
Hosted by Théâtre Catapulte
Texte : Drew Hayden Taylor
Traduction : Charles Bender
Mise en scène : Xavier Huard
Distribution : Marie-Josée Bastien, Charles Bender, Charles Buckell-Robertson, Violette
Chauveau, Étienne Thibeault et Lesly Velasquez
Scénographie et costumes : Xavier Mary et Meky Ottawa
Conception sonore : Étienne Thibeault et Saali Keelan
Éclairages : Gonzalo Soldi
Assistance à la mise en scène et régie : Jasmine Kamruzzaman
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
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.
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
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
