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May 30, 31- June 1, 2, 4, 5, 6, 7
Musée d’art contemporain
Salle Bevery Webster Rolph
French : 2h approx.
No latecomers
Coproduction & copresentation : Sibyllines / Festival de théâtre des Amériques |
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Raw, gritty theatre
A bare stage is the setting for Duras’ theatre of the interior, the disaster that predates all her writing and the story that she always returns to — the Indochina of colonial times, the Chinese lover, family madness, a criminal older brother and a mother who is Mother Courage, the maternal figure to whom one remains forever attached. The heartrending and persistent music of Marguerite Duras’ memory film is far removed from Cinéma Paradiso and its wave of nostalgia. Welcome to Éden Cinéma, where she projects her reminiscence onto the screen in an impossible autobiography that fluctuates between restoration and deception. Brigitte Haentjens was destined to one day plunge into Duras’ dark continent. After Électre et Antigone, after Marie Stuart and Élizabeth I, after Mademoiselle Julie and the fiery author of Malina, this play features Suzanne, the other face of Marguerite and Brigitte, an encounter positioned at the apex of emotion and pain.
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© Angelo Barsetti
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For the past few years, it has been rather fascinating to follow the artistic career of Brigitte Haentjens. The road she has taken is that of a free-thinking creative artist... Voir Montréal
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| TEXT |
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Marguerite Duras |
| DIRECTION |
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Brigitte Haentjens |
| ASSISTANT DIRECTOR AND STAGE MANAGER |
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Isabelle Brodeur |
| SET DESIGN |
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Anick La Bissonnière |
| COSTUME DESIGN |
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Julie Charland |
| MUSIC AND SOUND DESIGN |
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Robert Normandeau |
| LIGHTING DESIGN |
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Sonoyo Nishikawa |
| CONSULTANT TO MOVEMENT |
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Huy-Phong Doan |
| MAKE-UP ARTIST AND HAIR SYTLIST |
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Angelo Barsetti |
| DRAMATURG |
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Marie-Claire Lanctôt-Bélanger |
| PRODUCTION MANAGER |
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Alex Gazalé |
| TECHNICAL DIRECTOR |
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Xavier Forget |
| PROJECT MANAGER |
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Paulette Gagnon |
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| CAST |
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Sonia Vigneault
Christiane Pasquier
Paul Savoie
Pascal Contamine
Denis Gravereaux
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Brigitte Haentjens
Brigitte Haentjens occupies a special place in our cultural landscape. The remarkable nature of her work and the incredible impact her staging has on audiences and critics alike make her one of Quebec’s greatest directors. In 1998 Brigitte Haentjens founded her own theatre company, Sibyllines, in order to have a space where she could have full freedom to create, a place to artistically flourish and prosper. After directing the theatre collective piece Je ne sais plus qui je suis (1998), she tackled rich, complex works with her typical boldness and artistic rigour, mounting Koltès’ La Nuit juste avant les forêts (1999-2002), Ingeborg Bachman’s Malina (2000) and Müller’s Hamlet-Machine (2001), which was a finalist for the Quebec theatre critics’ award (2001-2002 season). For this woman of the theatre, art remains a means of “ providing small kernels of resistance and imagination that allow for a different vision of the world. ” It is thus no surprise that Brigitte Haentjens accepted the carte blanche offer made by the National Arts Centre’s Théâtre français. She responded by choosing a text by Duras, an author for whom writing is a state of permanent revolution.
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