Photo: Valérie Remise
René Richard Cyr has chosen to stage the historic fresco for seven voices in a wonderful sobriety.
A machine ” I remember “, that’s what Annick Lefebvre has imagined, what she has managed to build by assembling the nuts and bolts of our revolutions quiet, our uprisings matés, of our missed appointments, and of our abortive revolts.
With the Colonized, the playwright was able to follow the times and destinies, dreams and aspirations, the fears and the dominions, so as to account for the path travelled, but also, and perhaps even more importantly, to pay tribute to the resilience of a people who have all the reasons in the world to give up.
Four years after I acknowledge, Annick Lefebvre is back in the Centre of the Theatre of today with a text that comes close in a special way, a year of praise various of Pauline Julien and Gérald Godin.
A marker over time and space
This time, the famous couple is a landmark over time and space, a monument to the artistic and intellectual, a prism through which the author observes that the history of Quebec.
Thus, forming a choir, Myriam Fournier, Charles-Aubey Houde, Macha Limonchik, Benoît McGinnis, Sébastien Rajotte and Zoe Tremblay-Bianco revive the singer and the deputy-poet, of course, but they also speak in the name of the baby-boomers, red square, the felquistes, and sometimes even their own name.
As to Maude Demers-Rivard, she is the personification of Quebec, nothing less, a nation that takes on the traits of a poet and waitress output of the Spring maple gassed and wounded, bruised and battered, a bit desperate.
It is necessary to see how Lefebvre intertwines the hopes and the ras-le-bol, the events and the consultations, the bombings and the arrests, the acts of courage and the abuse of power. We spend the Monday of the bludgeon at the Salon du Plan Nord, the Rally for national independence the Parti québécois, the events of October 1970 in the referendum of 1980, the death of Godin the aphasia of Julian, the referendum of 1995 the suicide of Dédé Fortin.
The innermost portion
While the fragments of collective history, are put into perspective, in relation to and in parallel in a manner as ingenious as sensitive, it should be recognized that the innermost portion, the one that concerns the destiny of this young woman who could well be an alter ego of the author, is a bit less conclusive.
This historical fresco for seven voices, René Richard Cyr has chosen to stage in the most admirable of sobriétés. In a forest of feet of the microphones, in front of a screen on which are projected the words and the dates, around a few chairs that used to sit on or to let off some steam, we find the body cleverly positioned, we hear voices that sound right, taken from the word sovereign, a choralité abundant, which reflects the enthusiasm of the women and men that have held the province of Quebec at the end of the arms, the colonized, perhaps, but mostly blending and untamed.
Text : Annick Lefebvre. Directed by : René Richard Cyr. At the Centre of the Theatre from today until 16 February.