This text is part of the special World Theater Day notebook
The turmoil of the world sometimes seeps into the theaters, but the artisans resist the invader.
Every frequent theatergoer has his or her anecdote of incivility to tell: endless unwrapping of small candies, noisy or bright cell phones, useless chatter, latecomers to the thunderous arrival, etc. Should we blame the pangs of the pandemic which kept us in our living rooms for too long, and put basic politeness on hold? The phenomenon existed well before that, but be careful, according to certain artisans in the field: the public’s respect for theatrical art has not evaporated in the spirit of the times.
In recent years, several absurd stories have been brought to light, not on stages, but in theaters… Fights, drunk or rude spectators, and all the others for whom disturbing the neighbors is part of their fundamental rights, so many moments unedifying, some of whom benefited from their 15 minutes of media fame. According to Amélie Duceppe, general director of the Théâtre Duceppe, it is above all the reflection of a society that is somewhat upside down. “We see it everywhere, both at the grocery store, on the bus and on social networks. Everyone has been on edge since the pandemic. Too many people have lived in their echo chamber, and have lost the habit of being around others,” laments the woman who has been at the head of the theater company since 2018.
Amélie Duceppe also sees it in the complaints of spectators “who respond generously to our post-performance questionnaires, and yes, they tell us about certain inconveniences, particularly delays”. This phenomenon has apparently grown, and she is not the only one to notice it, because it affects all sectors. In a former professional life not so long ago, David Laferrière directed the destiny of the Théâtre Gilles-Vigneault in Saint-Jérôme, a multidisciplinary venue where humor rubs shoulders with song, and of course theater. “It was especially striking for comedy shows, especially on weekends. People often come in groups, have eaten before, had a drink, and arrive at the very last minute. They therefore do not have quite the same behavior as theater lovers, and particularly creative ones,” declares the man who is president of the board of directors of RIDEAU.
Incivility exists, but David Laferrière would definitely not want to go back a few years, to the time of deconfinement, when there were more of them. “It tends to slowly fade away, but it is certain that a culture of individualism persists,” recognizes the new artistic and general director of Théâtre Outremont. According to him, they have different impacts depending on the type of show and the place where it takes place. “Unwrapping a candy during a 2Frères performance is not the same as doing it at the Quat’sous theater, where the noise can easily reach the balcony. »
Managing the unpredictable
The configuration of the place and the mission of the theater company also have something to do with the atmosphere. At the Denise-Pelletier theater, where school groups and the general public take place, four ushers ensure the tranquility and comfort of the spectators. “Behavioural issues, such as cell phone use during a performance, can happen, but our staff intervenes very quickly,” specifies Stéphanie Laurin, general director. The aisles, more numerous than in other rooms, allow better circulation of spectators, especially if some have to leave during the show.
As for school groups, it is in the DNA of the Denise-Pelletier Theater to welcome them well. And above all to supervise them, because many students are often at their first contact with the theatrical world. “The better prepared they are, the more attentive they are,” explains Stéphanie Laurin. Unfortunately, we do not have the means to have a full-time cultural mediator, which should go without saying in our case. Of course, several factors ensure that the magic happens or not, but it remains for them an important moment of learning to live together. »
Amélie Duceppe agrees, in turn emphasizing the importance of upstream work with adolescent audiences, remembering a fairly tumultuous performance of the play Of mice and Men, in 2018, during which actor Guillaume Cyr went out of his depth after the show. “The school management informed me that the disruptors had been well punished, but I said to myself: “Here are young people who will no longer return to the theater…” Because Amélie Duceppe remains convinced that the performing arts in general, and theater in particular, represent the best means of cultivating our humanity, especially in the current social context. “It’s about communion, and lace,” adds David Laferrière. Characteristics that inevitably call for respect, listening, and good manners.
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