It is in vain that one would look for togas and temples in the Lysis signed by Fanny Britt and Alexia Bürger, and which, after two cancellations due to a pandemic, will finally see the light of day at the Théâtre du Nouveau Monde. Of Lysistrata of Aristophanes, the director Lorraine Pintal and the interpreter of the title role, Bénédicte Décary, affirm, there remains only a vague inspiration. The outgoing director of the TNM was far from suspecting, when she approached the author of Stormwinds — who added the third and fourth hands to those of the Hardings —, that we would barely recognize the Greek classic that she had entrusted him with the mandate to revisit. “I was stunned by the freedom they took,” says Lorraine Pintal. Not only is the action taking place today, but the sexual intercourse strike has turned into a birth rate strike.
The scientist Lysis works within a pharmaceutical company which has reaped colossal profits by selling its customers a drug that increases their fertility, but can cause them mental health problems, a side effect not declared by the company. By denouncing this misogynistic commercialism, the heroine begins a protest movement which will lead the women around her to campaign against the oppression of one gender by the other by refusing for a certain time to give birth to new human beings. .
“Lysis is a bit like Nemesis,” notes the woman who embodies her, “the avenging angel who [apporte] retribution. She’s the one who sets things on fire. » A character for which the actress was particularly inspired by the one who directs her. “Lorraine, she has it, this drive-there, this fire. » The latter is enthusiastic, among other things, about the thrilling aspect of the story, which according to her contains a certain dose of suspense. “The first synopsis was so exciting, it was like a miniseries,” she recalls, before adding: “Each scene does not reveal all its secrets, which we understand backwards. »
In full voice
The feminist character of Lysistrata constitutes one of the key attributes that appealed to the guiding spirit of the institution located on rue Sainte-Catherine. The need for such speaking out was also confirmed to him by the vehement reactions of young masculinists who followed the performances of Polytechnic Project, at the same theater last fall. However, this is not the only component of this text that appealed to her: “I told Fanny and Alexia that I wanted a Quebec creation that corresponded either to the mission of the TNM or to its architecture particular. »
The very structure of the building, in the opinion of those who administer it, would allow the epic pieces, in particular, to fully vibrate there. “The scale, the setting of the stage, its almost perfect dimensions (30 x 30 feet, with a depth of 40 feet), the relationship with the audience which is placed in a candy box… theaters like that, in Montreal, there are no There aren’t many anymore. We know that the classics, the works of Shakespeare or Greek tragedies are fabulous there. But when it comes to Quebec creations, we say to ourselves: are we going to find this kind of osmosis again? »
She believes that certain productions have achieved this, including The divine illusion by Michel Marc Bouchard, Christine, the boy queenby the same author, as well as Dear Chekhov by Michel Tremblay. “When we are lucky enough to have such a space, it is interesting to tackle works that allow us to create a link with the public, thanks to a choral dimension for example. »
The presence of choirs is, in fact, one of the only elements that Lorraine Pintal wanted to preserve from the original piece, written in 411 BCE. For her, this set of united voices not only provides a certain narration and comments on the action, they are the representative of the audience on stage when they address the characters and, from there, they establish a relationship with them . Both Pintal and Décary also praise the choir’s ability to give rhythm to the show as well as the omnipotence that emanates from its polyphony. “There is something hieratic, a little warlike, larger than life,” says the actress.
This is not the first time that the interpreter of Lysis has tackled a role full of feminist demands. Let us think in particular of that of Madeleine, the sex worker, whom she held in The fairies are thirsty in 2018, at the Rideau vert theater. “There is something in me that feels capable of carrying [ces] that voice. » Something that is both “strength” and “deep conviction”.
Emulation which, she says, reigns within the creative team, which brings together several generations, also helps to give it momentum. An enthusiasm shared by the director: “I am a fervent defender of generational shock on stage. I think it’s so powerful to see actors of the caliber of Jacques L’Heureux, or Pier Paquette, with the young Sally Sakho, and, between the two, Bénédicte, Olivia Palacci and Cynthia Wu-Maheux, who each and everyone their own working method, their school of thought. Honestly, it’s fascinating, and it represents society as it is. »
Bénédicte Décary also finds it “moving” to participate in the last production that Lorraine Pintal is signing as director of the TNM – and which will not be the last show that she will orchestrate in her career, the main interested party wishes to point out. “I think the whole troupe feels it, that we are living a special moment in the history of theater in Quebec,” confides the actress. I feel privileged to experience this with Lorraine, I feel that there is a transmission. » And that this 32-year adventure ends with a play dealing with feminism and civic engagement is not insignificant in the eyes of the director: “It was not programmed like that at all […], but I thanked the theater goddesses that it was this play that closed the season in which I decided to leave. It’s no coincidence, that’s for sure. It must be fate. »