The Brothers Grimm borrowed it from Charles Perrault. Filmmaker Jacques Demy made it the subject of an eccentric film, as were the 1970s. Since the dawn of time, the tale Donkey skin fascinates us, disturbs us, even frightens us, at times.
Sophie Cadieux and Félix-Antoine Boutin have decided to dip their pens into it to make a four-handed theatrical version, presented on the stage of the Théâtre Denise-Pelletier. The former will also be on stage with Éric Bernier. The latter is in charge of directing.
But what inspires them in this story of a princess forced to exile herself from the kingdom in the skin of a donkey so as not to marry her father, who has been madly in love with his daughter since the death of his wife?
“Sophie and I have a fascination with coming of age,” says Félix-Antoine Boutin. “This tale speaks of a freedom that can be acquired. It also says that the singularity of each person is worth something in the world.”
“What interests us is the light that the tale sheds on the immaterial singularity, the unique part that is found in each of us,” continues Sophie Cadieux. “What happens if we free ourselves from all the costumes, from all the skins that society forces us to wear? Who are we really? The question is important. And it is not a matter of gender.”
In the tale – and in the play – Donkey Skin must wear several costumes and undergo several trials to achieve this salutary emancipation. But it all begins when she dons the skin of a donkey with a marvelous power, that of shitting gold. This sacrificed donkey represents the price to pay for the young girl in search of herself.
To write their play, the two playwrights were inspired by Jacques Demy’s film, but above all by the creative freedom that prevailed during filming.
We listened to a lot of videos that happened behind the scenes. Catherine Deneuve smoking cigarettes, Jim Morrison appearing one day in the garden…
Sophie Cadieux
This relaxed atmosphere convinced them that they could claim all the rights to this tale with immemorial origins. “In Perrault, this tale was very dark,” says Félix-Antoine Boutin. “We were inspired by it, but we also allowed ourselves to explore. We want to tend towards a certain lightness.”
IMAGE PROVIDED BY PARAMOUNT
Catherine Deneuve in Donkey skinby Jacques Demy
In directing, he chose a very pop approach, where the influences of Kill Billof Karate Kid or mangas do not deny themselves.
The ending is also more open than that of the tale. “There is no moral,” says Sophie Cadieux. It is up to each person to draw from it the lessons they wish…
Two actors on stage
Eric Bernier, for his part, was seduced by the phantasmagorical nature of the project. “I like stories because they play in our unconscious. They say a lot about who we really are. Here, the text offers young people a space to help them find their place.”
PHOTO ALAIN ROBERGE, THE PRESS
Sophie Cadieux and Éric Bernier (right) will both be on stage, while Félix-Antoine Boutin (center) acts as director.
The runaway princess’s quest for uniqueness is likely to resonate strongly with the teenage audience that frequents the Théâtre Denise-Pelletier. At least that’s what the three artists hope.
I am surrounded by young girls who are attracted to delinquency and bad boys. The show shows that it is possible to free oneself from the gaze of others, but also to ignore stereotypes.
Eric Bernier
The performer will also waltz all the stereotypes by embodying on stage a king, a prince… and a fairy godmother. “It allows me to change a certain vision of masculinity. The multiplicity of genders that prevails today is extraordinary. And the show feeds that. As an actor, it’s really fun to do! The pleasure of the metamorphosis is complete.”
The show also offers a great platform for creators, who must take ownership of this fantastical universe where everything is transformation. The scenography (Max-Otto Fauteux), costumes (Elen Ewing), accessories (Marie-Jeanne Rizkallah), music (Antoine Bédard) and lighting (Julie Basse) are all in keeping with this show’s abundant creativity.
“We were very nourished by the designers,” says Félix-Antoine Boutin. “And they all go all out in their reading!” Donkey skin is truly a designer show where dramatic writing is only one of the materials used,” adds Sophie Cadieux.
Donkey skin is the fifth collaboration between Sophie Cadieux and Félix-Antoine Boutin, a duo to whom we owe the adaptation of the film for the stage. Fanny and Alexandre by Ingmar Bergman.
From September 25 to October 19 at the Théâtre Denise-Pelletier, then at the Théâtre français of the National Arts Centre from October 31 to November 2.
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