In the alley behind the Center du Théâtre d’Aujourd’hui, while the photographer takes each of their portraits, our four interviewees happily tease each other. The easy dynamic that developed between the actresses — who did not know each other before production — would resemble that shared by their characters in Get excited (an Ivorian neologism meaning “to have fun, to have fun”).
The first play written by Stephie Mazunya celebrates sorority through the exchanges between four millennial friends. A generation of women that the actress (recently seen in rope. steep) very supportive judge, in general. Unlike the women of previous generations, who were put in competition, the members of this one had the chance “to be able to exist together, as women. For me, in my artistic and human journey, it was women who supported me. Men too, but much more women.”
The author began her play in 2020, in the middle of the Black Lives Matter movement, a “very dark” period for Afro-descendant communities. “I noticed that in the arts and media, black women were often represented in contexts of suffering and tragedy. Rarely in [situations] where we experience everyday things, like any other Quebecer. And it was important for me to show black women experiencing daily drama, but also lightness, joy. It is a comedy. And they question themselves about political issues. But sometimes they are clumsy or don’t agree on certain issues. »
For Malube Uhindu-Gingala, Get excited is a coming-of-age story that follows young twenty-somethings as they transition to adulthood. “Growing up, I never saw a show or a show with four black women discovering themselves, asking questions about who they are: how can I [avancer] in the world, can I live in my truth? That’s why I find this show really important. “. The Montreal actress, who first made her career in Toronto, on stage and screen (The Scarlet Maid), laughed a lot, then cried while reading the play. “I saw myself in each character, in all their stories. » She plays Chloé, a free spirit, bisexual, with artistic aspirations.
“In Quebec, we often have an archetype of the black woman. There, we have four extremely different characters,” rejoices Carla Mezquita Honhon. The actress (Never wipe away tears without gloves, Spring Awakening) plays Safia, a Muslim who studies feminist studies and who camouflages her vulnerability under a very categorical facade. Stephie Mazunya – who herself plays Keza, a medical student – considered it important to show in her text the diversity existing within racialized communities.
“They are all complex! This is what is fun », says Naïla Louidort. The TV series performer 5e rank Or All the life plays the accountant Naïca, “who needs order in her life. She asks herself a lot of questions. In our early twenties, we all go through this.”
Speak freely
Within their intimate circle, these characters of diverse origins, who formed a friendship in high school, tell each other everything, even the most embarrassing. And they debate various issues, including delicate ones, with a plurality of opinions. Stephie Mazunya wanted to represent them in a safe space. “They can speak freely, because they are among themselves. And address subjects that they might not allow themselves to address in other contexts. »
Otherwise, Afro-descendant women must “constantly overexplain or try to put into words so that the person who does not experience the issues we experience on a daily basis can understand,” summarizes Naïla Louidort. It’s a kind of non-stop translation of our life. It is heavy ! » And tiring, surely. General approval of the actresses.
Hence the rest provided by this protected space, whose interpreters Get excited benefit themselves. “Just yesterday, in the dressing room, we shared experiences which, since they are commonly experienced, can be said in one sentence,” illustrates Carla Mezquita Honhon. Things don’t need to be explained. » Because the context is understood by everyone. She adds: “It’s as if we could share the mental load between four of us, rather than being – we’ve all experienced it – the only visible minority in a project, where you either have to decide to give up, or take your courage in both hands to name certain things each time. »
Get excited addresses several female issues, linked to the body or sexuality. “This is why the piece is universal, in my humble opinion,” says the author. I think women’s issues concern everyone. Because in society, we live with women! » We see her own character, Keza, losing her virginity, exposing an ignorance that astonishes her friends. “In Afro-descendant communities, sexuality is often very taboo. (I’m not talking about all families, but several, nonetheless.) Which means that young women, sometimes, when they begin to experience their sexuality, are really not equipped. »
It is also an opportunity to raise little-known issues, such as diseases that are “specific to black women”, such as fibroids, which are very common. “I had read in an article that they were often not believed when they complained of pain. It’s a social issue. I wanted to highlight that, and with lightness. »
Drawing a portrait with authentic accents (“I wanted the audience to feel as if they were looking at girls in an apartment and they don’t know we’re there”), the piece also includes poetic interludes: “moments of breathing, where we discover these women in intimacy”. These paintings turn out to be “visually magnificent”, thanks to the work of the designers, in the show directed by Sophie Cadieux.
Language
One of the elements that Stephie Mazunya did not have to explain to her co-performers, who understood her immediately, was the language. The piece, published by Éditions du Stir-Mage, brings to life French colored with Creole, Arabic, English and Kirundi terms.
While noting that each character speaks differently, the author originally from Burundi explains that she made a personal adaptation of Montreal slang, this vernacular language used by young people. “It’s a celebration of social diversity in Montreal, where young people contaminate each other in the way they speak on a daily basis. They are together. And I find that we can — I say it humbly — learn from them. »
She also wanted to touch code-switching, that is to say “how racialized young people adapt to their environment. When they go to class or in a setting where they are with people who would perhaps be insulted by this language, they will speak a more socially accepted French. Sometimes people look at this slang badly, as if young people are losing their French. But I think we don’t trust them enough: they navigate much more fluidly than we think” between these languages.
Carla Mezquita Honhon agrees: “I experienced it in high school. I spoke a kind of slang which may resemble the language of Get excited. But I was still the girl who was going to correct the teachers’ syntax errors on the board! »
For the interpreters, this living language comes into the mouth very naturally. “We’re at home,” agrees Naïla Louidort. And what I find really beautiful is that with the code-switching, we have always sought to comply with what we call the norm, French called standard. And in this room, in the room, the norm is going to be this language. » It’s up to the spectators to adapt to it in turn. “But it comes with a context, an energy and four whole women in what they experience through the scenes. It will be easy to understand. »
It is this “very precious” object that offers Get excited : four actresses “really getting naked”, who invite you into their own space.