2021-2022

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L’écho de l’écume

Starting April 1st, proof of vaccination will no longer be required for members of the audience. The mask is still mandatory for everyone until June 30, 2022. We will also maintain physical distancing between groups in our spaces until further notice. More information. 

L’écho de l’écume is a little eulogy to joy that proposes to bring visual arts on stage. In an island universe that tastes the salt air and the wind of the sea, two tumultuous and bewitching women deploy a real small art gallery on a sea journey background. Punctuated by movement, nuggets of poetry and a revisited repertoire of a capella sailors’ songs, their large frescoes painted live evoke the sea: its movement, its breathing, its storms and its lulls, like a sweet and fiery allegory of the inner landscapes that inhabit them.


For 2 and a half to 6 years old.

Co-creation and direction : ÉDITH BEAUSÉJOUR, EMMANUELLE CALVÉ ET KARINE GAULIN

A CO-PRODUCTION OF CHEMINS ERRANTS AND THÉÂRE MOTUS

A co-host of VOX Théâtre and Théâtre de la Vieille 17

Co-creation and direction : ÉDITH BEAUSÉJOUR, EMMANUELLE CALVÉ ET KARINE GAULIN

Dramaturgy and acting advisor : HÉLÈNE DUCHARME

Sound environment : ÉDITH BEAUSÉJOUR

Scenography and costumes : JOSÉE BERGERON-PROULX

Lighting and technical direction : PATRICE DAIGNEAULT

Set and costume design assistant : ÈVE-LYNE DALLAIRE

Performers : KARINE GAULIN ET ÉDITH BEAUSÉJOUR

45 minutes

PROGRAMMATION

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Demain, j’étais ici

A digital audio journey through the city in the form of a podcast, produced in collaboration with the Ontario Centre for Artistic Excellence.
This project takes a fresh look at places in the city of Ottawa through audio works that highlight the way in which teenagers view their place of living, especially in the context of a pandemic where people are only walking, often alone. 
The idea is to approach the creation of dramatic audio works, written by young authors and narrated by young performers, all students of the Ontario Centre for Artistic Excellence. These stories aim to reveal the poetic aspects of a seemingly ordinary place by associating a story, an affect, an invisible color that is revealed upon listening. Through the sensibilities of teenagers, Tomorrow I Was Here renews the meaning of the words memories, melancholy and hope.

Simon L. Lalande and Danielle Le Saux-Farmer

A project of Théâtre Catapulte and La Nouvelle Scène Gilles Desjardins in collaboration with the Ontario Centre for Artistic Excellence

Texts : Amel Amrouche, Catherine Berniqué, Sophie Cameron-King, Nico Charron-Groulx, Geneviève Gagné, Simon Gagné, Toby Guillemette, André Lévesque-Kinder, Benjamin Lévesque-Kinder, Jonas Lévesque-Kinder, Maddline Lishchynski, Lily Mason, Savana Renaud Usami, Aucéanne Tardif-Plante and Kamé Walker (the teens in the Writing and Creative Writing Concentration at the Ontario Centre for Artistic Excellence, led by their teacher Jonathan Desrosiers);

Interpretation : Chloé Boivin, Alexandre Brisebois-Clyne, Naomi Gindon, Nicole Grant, Thomas Harrington, Sarah Komendat, Dana Leclerc, Lauralee Leonhardt, Emmet Logue, Mélodie Lorquet, Aristote Niyiriho (the teenagers of the Theatre Concentration of the Ontario Centre for Artistic Excellence, coached by their teacher Maxine Turcotte). Simon L. Lalande and Maxine Turcotte. 

Artistic direction : Danielle Le Saux-Farmer et Simon L. Lalande 
Dramaturgical accompaniment : Louis-Philippe Roy 
Interpretation accompaniment: Danielle Le Saux-Farmer 
Production and sound environment : Pierre Antoine Lafon Simard
Project coordination : Martin Cadieux 
Production management : Benoît Roy

    PROGRAMMATION

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    Petit bout de bois

    Starting April 1st, proof of vaccination will no longer be required for members of the audience. The mask is still mandatory for everyone until June 30, 2022. We will also maintain physical distancing between groups in our spaces until further notice. More information. 

    A raw and poetic dive into the world of Senegalese street children.

    Exploited by a deceitful school system, young Souleymane finds himself on the street, forced to beg and bring his loot to the Séringnes daara: the “Koranic masters” who are supposed to offer him an education.

    LITTLE PIECE OF WOOD is a puppet show about the daily life of street children in Senegal. A story about the courage of these resourceful children who do not give up their dreams despite the difficulties of life, and who reinvent every day a new way to survive as children in a world of grown-ups.

    For 8 to 12 year olds.

    Writing and acting Patricia Gomis
    Stage direction Sylvie Baillon

    A production of the company Djarama (Senegal), in coproduction with Le Tas de Sable – Ches Panses Vertes

    Un accueil conjoint de Vox Théâtre et du Théâtre de la Vieille 17

    Writing and acting Patricia Gomis
    Stage direction Sylvie Baillon
    Actors’ direction Jeannine Gretler
    Music Ndeye Seck
    Puppet construction Vera Rozanova + les enfants du Village Pilote
    Graphic design and technical support Cécile Balate
    Mame costume Fagueye Bâ
    Set construction Mayoro Ndiaye
    Artistic advisor Fanny Berard

    With the support of Ministère de la Culture du Sénégal + Institut Français et Région Haut de France + La Cie de la Casquette (Belgique) + École des Sables (Sénégal) 

    Thanks to Village Pilote + SAMU social Sénégal

    45 minutes

    PROGRAMMATION

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    Dog Rising

    La Nouvelle Scène Gilles Desjardins has elected to continue to require enhanced proof of vaccination for visitors until at least March 31, 2022. This decision will be reviewed in the coming weeks. We will also maintain physical distancing between groups in our spaces until further notice. More info.

    A necessary dose of cosmic light. Three celestial bodies launched into orbit, vibrating in a lustful and hypnotic ritual.

    Composed of celestial, vibrating bodies launched into hypnotic, ritualistic orbit, DOG RISING imitates the current of life — the circulation of matter. From primal impulses to a sometimes-sexual, sometimes-mechanical gesture, Clara Furey’s new creation is a polyphony where bodies pulsate in unison and in dissonance. Furey continues the approach inspired by the physical phenomena begun with Cosmic Love, lingering on the journey of sound vibrations in the bones, the skeletal absorption of external shocks, and the deep, visceral listening through which the body communicates. 

    Empathy and attentive listening to the needs of the body and of others feed this inhabited trio, which works on movement in duration, persistence, seeking to release tensions by insisting on the repetition of infinite loops. DOG RISING invites to an extreme physical journey a bewitching, haunting, penetrating spiral. An invitation to build and regenerate physical strength from shocks — from discomfort mutated into joy.

    This show is presented in conjunction with Rather a Ditch !

    Clara Furey

    Parbleux

    Théâtre du Trillium

    Concept and artistic direction Clara Furey
    Choreographed by Clara Furey in association with Be Heintzman Hope, Winnie Ho
    Performed by Baco Lepage-Acosta, Be Heintzman Hope, Brian Mendez
    Research performer and assistant Brian Mendez
    Rehearsal Lucie Vigneault 
    Musical composition Tomas Furey
    Technical direction and lighting design Karine Gauthier
    Words by Coral Short Outside Eye Peter Jasko, Dana Michel, Christopher Willes, Caroline Monnet
    Produced by Clara Furey Executive producer Parbleux
    Development A Propic – Line Rousseau & Marion Gauvent

    Co-produced by Atelier de Paris – CDCN (France), CD Spectacles (Gaspé, Canada), Centre Chorégraphique National d’Orléans – Direction Maud le Pladec (France), Festival TransAmériques (Montréal, Canada), La Briqueterie – Centre de Développement Chorégraphique du Val-de-Marne (Vitry-sur-Seine, France), La Rotonde (Québec, Canada), New Baltic Dance Festival (Vilnius, Lithuania)

    Partners and support for creation Parbleux (Montréal, Canada), L’Écart – Art Actuel (Rouyn-Noranda, Canada), Danse à la Carte (Montréal,Canada)

    The creation of this work was made possible thanks to the financial support of Conseil des Arts du Canada, Conseil des Arts et des Lettres du Québec, Conseil des Arts de Montréal

    Premiere presented on May 26, 2021 at the Espace Danse of the Wilder Building as part of the Festival TransAmériques program.

    70 minutes

    PROGRAMMATION

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    Rather a ditch

    La Nouvelle Scène Gilles Desjardins has elected to continue to require enhanced proof of vaccination for visitors until at least March 31, 2022. This decision will be reviewed in the coming weeks. We will also maintain physical distancing between groups in our spaces until further notice. More info.

    A sensory, visceral, and existential solo echoing the silence of a deep solitude. This moving performance brings together Céline Bonnier, Caroline Monnet, and Clara Furey.

    “To die… to go into the darkness… if it is darkness… to go to the river… if it is a river… but alone and without the illusion of love… naked and disastrously free…” – Howard Barker

    Echoing Steve Reich’s hypnotic Different Trains, which questions the duality and fragility of our destinies, Clara Furey responded to Olivier Bertrand’s invitation for the first Montreal edition of the ALBUM Project and created Rather a Ditch, a piece in which several “existential dance experiments” explore the porosity between life and death.

    The choreographer offers here a hypnotic work that plunges the spectator into the heart of absence. Céline Bonnier slides from one state to another, exploring interior landscapes and finding radiance in enveloping darkness. Seemingly absent from herself, sinking into her inner soul, and playing with radical disembodiment, the actress, a long-time accomplice of Clara Furey, lands herself once more in the performance game. An entity in its own right, the wall of imposing fragility imagined by Caroline Monnet vibrates with us throughout the piece, dialoguing with Karine Gauthier’s precise and enigmatic lighting and revealing questions about what is past and what remains, still, terribly present.

    This show is presented in conjunction with Dog Rising !

    Clara Furey

    Parbleux

    Théâtre du Trillium

    Original idea Olivier Bertrand
    Conception and artistic direction Clara Furey
    Co-creation and performance Céline Bonnier
    Sonic conception Jean-François Blouin
    Sonic research Ida Toninato
    Set design Caroline Monnet
    Lighting design and technical direction on tour Karine Gauthier
    Costume design Michèle Hamel
    Outside eyes Andrew Tay, Christopher Willes
    Lighting design assistance Tim Rodrigues
    Technical direction during the creation Maude Bernier
    Distribution A Propic | Line Rousseau & Marion Gauvent

    Production Clara Furey
    Executive production by Parbleux

    Partners and creation support Centro per la Scena Contemporanea (CSC) de Bassano del Grappa (Italie/Italy), Danse à la Carte (Montréal, Canada), La Chapelle – Scènes Contemporaines (Montréal, Canada), Parbleux (Montréal, Canada)

    Co-production Festival TransAmériques (Montréal, Canada), La Chapelle Scènes Contemporaines

    The creation of this work was made possible thanks to the financial support of Conseil des Arts du Canada et du Conseil des Arts et des Lettres du Québec

    PROGRAMMATION

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    Singulières

    Documentary theatre dealing with the celibacy of women with a marked, cinematographic form.

    2021. Québec. For a long time, single women have been stereotyped as “old maids,” or “spinsters,” but today, these women can aspire to new models of life. Five of them, from different backgrounds and conditions, agreed to be followed and studied over a two-year period in order to testify to the singular paths they’ve taken in their quests for individual happiness. This play is the conclusion of these two years.

    Based upon numerous interviews with single women aged thirty and over, SINGULIÈRES offers a privileged encounter with a handful of brilliant, fulfilled, lucid women who stand out from the crowd due to their relationships with coupledness, motherhood, the body, and society’s expectations. Alexandre Fecteau has been interested in documentary theatre for several years, and this play is in that vein, citing its sources directly and with negligible editing.

    The play is in French, surtitled in English.

    Text Maxime Beauregard-Martin
    Stage direction Alexandre Fecteau
    *Please note that Danielle Le Saux-Farmer is a performer in this show

    A co-production of Théâtre Catapulte, Collectif Nous sommes ici and Théâtre la Bordée

    Théâtre Catapulte

    Text Maxime Beauregard-Martin
    Stage direction Alexandre Fecteau
    Staging assistance Stéphanie Hayes
    Set design Ariane Sauvé
    Costumes Jeanne Lapierre
    Hair and makeup Nathalie Simard
    Music Stéphane Caron
    Lighting Chantal Labonté
    Video David B. Ricard
    Dresser Géraldine Rondeau
    Stage Manager Keven Dubois
    Assistant Stage Manager Abel Longuépée
    Sound control Nicolas Désy

    Interpretation Frédérique Bradet, Savina Figueras, Danielle Le Saux-Farmer, Éva Saïda et Sophie Thibeault

    1h45 no intermission