In two days, will end our series of shows at the Theatre of Threepenny, rue des Pins Montreal. I was distributing They Shoot Horses , adapted from a novel by Horace McCoy made by MJ Bastian, who also signed the staging. In the intimate venue of Threepenny, the show has perhaps not been as successful as we'd hoped, given the enthusiastic reception we received in Quebec in its creation. Is it due to lack of clearance to clean this room who has done that our proposal and our level of play, frank and generous, could hasten a part of the public feeling bombarbé by our good feelings? It is quite probable if one considers the cynicism in our own time, usually one is rather boring to anything approaching melodrama. Damage.
Finally, about me, the experience was very enjoyable nonetheless. I was very happy to find these walls where I had already committed 12 years ago that, at the very beginning of my career. Pierre Bernard, then artistic director of Threepenny, phoned me a few months after my release from the Conservatory of Dramatic Arts in Quebec to offer me a role in Trainspotting he had offered to Wajdi Mouawad staging. I remember that phone call confirmed that I had indeed started and that the craft would probably smile at me now. The company's success was such that it still haunts the walls of the theater after the devastating fire that ravaged the area a few years ago. For me, anyway, this homecoming is very beneficial and brings back good memories property ...
I'll meet him soon Wajdi my friend, because we will resume the adventure Three Sisters by Anton Chekhov he originally staged at the Théâtre du Trident in 2002. We will move our reading of this masterpiece to Moscow next July. The adventure looks exciting and will allow me once again to reconnect with some great memories ...
I become nostalgic my faith?
Passing the traveler sees red. TRAVELLER , ironically just : It is these cities where I am surprised to see that the walls of buildings still stand, the Sodom and Gomorrah of modern times. For example here, I see that good old Cultural Revolution in China would be required altogether: it should compel the hordes of young citizens and young citizens, half-naked flowing into the streets at night, spending of money from it is unclear where, to participate in the drudgery and collective, to the sounds of patriotic songs, their insatiable energy used to clean streets and squares rather than let their screaming nonsense into the night. The avalanche of debris that staked the streets is probably the result of starving fonts winter. Still, as squalid dens illegal market of Macao Yaoundé world there are also dirty sidewalks and abandoned dogs - so high they may be - as sordid and parks scattered trees unhappy here. "This is just a brief moment of celebration and rejoicing to exorcise the frustrations of a too short winter, we will clean up just now." Okay, but you will agree with me that nowadays the Bairro Alto, Lisbon or the Red Light Hamburg uncannily resemble monastic churches before the Plateau Mont-Royal. Ah! saving a good rain this morning. It will clean all this a bit until the wrath of God or the arrival of a cute Mao's little good in us ...
Qualities and privileges of the stage actor As our business in Quebec brings us to devote himself almost exclusively to the scene, my reflections on theater practice have necessarily been refined over the years. Questions continue to abound, but answers are needed sometimes to themselves. So I asked myself there is little about the qualities which must show an actor to persevere and here, briefly, what I figured.
The main qualities of an actor de théâtre doivent être, selon moi, l’abnégation et le courage. Abnégation, car il doit être en mesure d’oublier ce qu’il est - ou ce qu’il croît être – pour personnifier quelqu’un d’autre, soir après soir. Cet exercice de transsubstantiation - se vider de soi pour laisser place au personnage - ne peut se faire sans une bonne dose d’humilité quelque soient les qualités du personnage. Le personnage que devra endosser l’acteur sera parfois désagréable, son âme sera salie, ses propos seront noirs. L’acteur devra néanmoins lui faire une place en son propre corps. Le corps de l’acteur devient alors un réceptacle de l’âme of the character - without him - would not exist. The soul of the character has weight than when she will nest within the actor. And this must be done with the consent, the abandonment of the latter. Sometimes the character is too large, the envelope too narrow. Sometimes the reverse happens: the actor's body or what he believes to be his body is too large to contain the soul of the character. Causes a distortion: the actor too full of itself will not make the fair word of his character and one who underestimates will not have enough space to offer it. There is a fair environment to find.
As for the courage he needed when the player feels like going on stage as you go up to the front, when the actor is preparing to fight a battle he knows he can win. In this era where every effort is commendable that which is to give body and soul to a cause that is not properly his is, in my opinion, sublime. The stage actor, for his sacrifice, can lead a constant battle libération.Sans attempt to change the world, the stage actor is dependent on a vision of a free humanity, the bearer, most time, the torch of a strong word and a privilege it must honor all its qualities.
