Photo: Marie-France Coallier The Duty
Director Genevieve L. Blais has imagined a sister and a brother who would fall on the book of Cocteau and recognize it.
In a secret chamber, that’s where Genevieve L. Blais wants this time cause lovers to experience spectacular, not mundane. Freely inspired by the enfants terribles, roman by Jean Cocteau, published in 1929, the new creation is immersive and ambulatory of the director of Theatre at lost body is called Somnanbules. “The open relationship between Paul and Elisabeth, almost twin, fascinates me,” she says. Between the brother and the sister, of characters larger than life, not to say mythological, there is the need to crazy to exist in the gaze of the other. In their secret games, dangerous, almost forbidden, which is held behind closed doors, it still feels this absolute need to be for the other person more important, more amazing, more exciting. Their relationship intriguing, which is increasingly corrupted by jealousy, is as beautiful as it is violent, as gentle as cruel. “
The words to say
The director has imagined a sister and a brother, two contemporary characters who would fall on the book of Cocteau and recognize it. Their names, Cindy and Carl, are a reference to those of the photographer Cindy Sherman and of the psychiatrist Carl Jung, important sources of inspiration. In search of vertigo, the hero is likely to be burn. “These are two children who are not able to express themselves, not able to feel it, not in a direct way,” says Blais. So well that they need to live vicariously, what they are going to achieve to make it through the novel. They are going to find the words to say, the subject of their late night games. “This dramatic convention is going to allow them to open the floodgates, for better and for worse. “My effort,” said Blais, Cindy, and Carl are two directors. They head each other, motivate, challenge, encourage to push their limits… Sometimes, as some artists, they allow themselves to be boarded by something that they don’t fully understand, a world that eludes them, a force that exceeds. “
I could not approach a score like that without questioning my own childhood, without meeting my gaze. To identify the disturbance that awoke in me the novel, it was necessary in any way that I explore my frailty, that I should go rummage in the drawer of the childhood. That is why the report at the place and to objects, matter, fundamental in all my work, particularly in this show.
— Genevieve L. Blais
While Sylvie De Morais and Étienne Pilon embody the protagonists in 2019, eight young actors perform (alternately) the tandem in 1994 and in 1989. Marie Cantin and Alain Fournier came to complete the distribution, including in the roles of Paul and Elisabeth, the characters of Cocteau, such as summoned by Cindy and Carl. “To tell this story properly,” says the director, that is to say, to translate what touched me really in the work, I absolutely need to choralité. To account for all of the ages traversed by the two heroes, of the field of possibilities that extends from childhood to maturity, playfulness skid, of the freedom of transgression, from the beginning novice to the tragic end, I had to adults, adolescents, and children. Even though this is the fifth time that I’m rubbing it, I won’t deny that it is a challenge to lead young people. That said, I do not regret absolutely not, because they feed a lot in the process. “
Second part of the cycle Nocturnales, after a Local B-1717 Erin Shields, given in a warehouse in the Mile-Ex in 2018, Somnanbules will be presented for 12 spectators at a time, between the walls of the house where the director grew up, in the neighborhood of Côte-des-Neiges, near the Sainte-Justine hospital. “I could not approach a score like that without questioning my own childhood, without meeting my gaze,” explains the designer. To identify the disturbance that awoke in me the novel, it was necessary in any way that I explore my frailty, that I should go rummage in the drawer of the childhood. That is why the report at the place and to objects, matter, fundamental in all my work, particularly in this show. “
Acts of resistance
Since 2003, Genevieve L. Blais has directed a dozen shows, often in non-traditional venues. If it has continuously evolved as an artist, his company, the Theatre lost body, appears to be, so to speak, by its very nature, in the margins of the institutions and their seasons — condemned to homelessness and insecurity. “It’s a job that I love,” says the creator and producer, a job that stimulates me still, but the level of difficulty is high and I have to admit that I feel a certain fatigue. I am thinking, of course, ways to meet a wider audience, but, at the same time, I don’t want to betray me. Let’s say that I’m not the best on the compromise. “According to Blais, there is nothing in our ecology which fosters the birth of theatre in situ :” In make, it is an act of resistance. That said, I don’t intend to stop. ”
A creation of immersive Genevieve L. Blais, freely inspired of the “enfants terribles” by Jean Cocteau. In a secret chamber in the neighborhood of Côte-des-Neiges from 2 to 29 march.