I am not necessarily an actor who puts forward the physical aspect of the game and my approach in this sense is rather intuitive. As soon as I am in good physical layouts to play, I let my body speak. My movements are then used to punctuate the mood in which the character is that I have to defend. They integrate seamlessly the text I have to say, but I still rely on the director to tell me at what point my actions and my movements are likely to blur the point. What I see is that the actor's body is neither more nor less than a ball of energy that this fabulous master skillfully. When it comes time to mount the stage, the adrenalin is sometimes such that they must be tamed in order not to impair readability.
Otherwise the essence of theatrical practice, as I see it, is to be sought in the conjugation two types of emotions. First, there is one born of intuitive physical momentum described above. This emotion and body movement must necessarily come into contact with the more cerebral emotion that comes to reading, to the appropriation and interpretation of the text. This leads to a match that is not always easy to cause especially when the text and the physical demands of the staging does not converge naturally, for example when the emotion is not initially detectable in the text or when the establishment is required too heavily.
I cites two examples where I found the interior a perfect combination of these emotions. In Cyrano de Bergerac, directed by Mr. Gignac, I always shuddered to the following statement made by Roxane in Cyrano few moments before he died: "No, no, dear love, I do not love you ! ? Since half past two already I struggled to blows with swords and jousting for verbal silence the unbridled love. Fatigue character was also mine and is finally let go of the song was released in an equally large for the character to the interpreter.
Autre exemple de ce type de conjugaison heureuse qui n’est pas venue initialement du texte celle-là : dans L’Asile de la Pureté, Donatien Marcassilar jeûne depuis plusieurs jours déjà lorsqu’il entreprend de prouver à l’un de ses amis jusqu’où doit aller sa liberté d’expression ; il entame alors un poème en exploréen – langue inventée par C. Gauvreau faîte de mots véritables entrecoupée de syllabes indépendantes. Pour fuser correctement, cet extrait fût donné dans un état physique de précarité: M. Faucher, le metteur en scène, m’avait placé les deux pieds dans une assiette vide, raide comme leaving only a picket waving my arms in all directions. The intensity of this physical binding combined with the resonance of syllables exploréen added to the fatigue of a soft stage actor for over half past one have certainly helped to make this time as one of taking of my career.
My first aspiration as a performer is to provide a meaningful picture of our humanity by making the world more accurately his incredible skills and qualities but also its most horrible defects. As theater history spans 2,500 years, the actor and the spectator ont l’occasion d’accéder, ici, à un répertoire inépuisable de représentations de l’humain allant des premiers balbutiement de la littérature qui cherchaient à définir les contours de celui-ci aux textes québécois contemporains qui contribuent à définir notre identité. Moi, je trouve dans cette multitude d’histoires d’amour, de traîtrises, d’honneur, de violence qui pullulent dans le répertoire dramatique et qui jalonnent l’histoire de l’humanité, un terreau inépuisable à la fois de cette grandiloquence et de cette misère qui font l’Homme. Tout, dans ma pratique, tend à offrir à mes contemporains une Just reading this table, as vast as it is.
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