The theatrical season that begins in Quebec deploys many titles clearly eager to dig into the question of what binds us: this in the usual dimension of the register of love, but in its social or family variations just as much. In terms of repertoire as well as creation, the question of what holds humans together appears particularly sensitive this winter.
This will be the case with spring awakening by Frank Wedekind, as an overture to the Trident. Dramatic satire isolates the question of attachment from its most physical angle: that of the loving bond, even strictly sexual. The text of 1891, on adolescence and the awakening of desire, caused a scandal at the time; it will be interesting to see how the director Olivier Arteau will treat this censored text at its creation at a time which, far from the authoritarian reign of William 1errather encourages the satisfaction of drives.
Rebelote moreover with Never wipe tears without gloves, the novel (2012-2013) by Jonas Gardell which will hit the same shelves in March. The adaptation of Veronique Cote will transpose the story of these two men in the Stockholm of the AIDS years. In a staging by Alexandre Fecteau with a wide cast, the play will trace the challenges and pitfalls of their love at the same time as the consequences of the HIV epidemic on the Swedish homosexual community of the early 1980s.
The stakes of the love bond also open the season of La Bordée with The ICES, stopping in Saint-Roch after going to La Licorne this fall. The text by Rébecca Déraspe, directed by Maryse Lapierre, retraces the return to his past of a man who, accused of sexual assault, returns to his native Bas-du-Fleuve to revisit events that occurred twenty-five years earlier. early. Relationships in the intimate sphere will be scrutinized here from the very topical angle of consent.
Beyond the relationships experienced behind closed doors, the link also refers to what we manage to create socially. So the 34B, directed by Marie-Josée Bastien, which will close the season of the same Bordée in April. Isabelle Hubert’s text unfolds a fresco over six generations around worker solidarity in a lingerie factory in the lower town, around women with little education who come together to create links, to take their destiny into their own hands.
It is the same concern for what we manage to build collectively which also opens the season at Periscope. On an anecdote of a chance encounter with a stranger, I want to participate in the chaos will question the distant relationship that we maintain, in the era of the global village, with each other. Playing a “punk research on our consciousness of the other”, the project ofEliot Laprise will deepen the bond that can unite strangers, when the barriers of everyday life fall and humans appear.
And the family, of course
If the question of the type of relationships that we manage to build floats in the air, it naturally finds echoes on the side of the family, the place of the first attachments – starting with the transposition for the boards of Gas Bar Blues that La Bordée will offer in February, after his time at Duceppe. Adapted for the theater by David Lauren Directed by Édith Patenaude, Louis Bélanger’s film told the story of a man and his sons in a modest environment, one of the most touching that Quebec cinema has produced.
The family will still be at the center of concerns with Decimated, in March at Periscope. The text of Marie-Eve Chabot Lortie, also directing, will offer a documentary approach around the application of Bill 113, which in recent years modified Quebec rules on confidentiality in adoption files. The play follows the questions of a woman who, learning that her mother has been adopted, will launch a belated exploration of the one who gave birth to her.
Albania, which for its part opens the season at Premier Acte, also takes the framework of the family as its playground. On a more tragic note, the play will tell the story of three children, only the first of whom has not been adopted; the quiet family river is called out of its bed when the first of the boys kills the last. On a text and a staging ofOdile Gagne-Roythe show will offer an exploration of brutality and violence passed down from generation to generation.
New quest located in the family sphere, Fifteen ways to find you, for its part, will finally take the question of the bond from the sororal angle. In a second staging by Maryse Lapierre on the winter marquise, the play will follow the plans of a woman to find her only sister. The text ofAnne Marie Olivierlike a closed loop, will come to close the last season piloted by this one at the artistic direction of the Trident.