In a grey apartment building, four characters live in a dreamlike space in which time moves forward without moving, sometimes in an offbeat and unsettling way. Written as a fragmented dream, this choral piece draws its inspiration from the night to dive into zones of human intimacy that are often hidden. Here, inaction, the moment that precedes the act, is the root of all tension.
Et si un soir by Lisa L’Heureux Published by éditions Prise de parole Featuring: Marc-André Charette, Lisa Léger, Manon St-Jules, Caroline Yergeau Sound Conception : Pierre-Luc Clément Saxophone : Linsey Wellman Realization : Transistor Média
Produced by Lisa L’Heureux in partnership with Transistor Média, Prise de Parole and Théâtre Rouge Écarlate
Produced with the generous support of: Conseil des arts du Canada, Ontario Créatif, Prix littéraire Trillium 2019.
Artists in Conversation – Contemporary Writing in Canada & USA
Join Studio Theatre with Playwrights Guild of Canada and the Centre des auteurs damatiques (CEAD), for a free conversation on Tues, Feb 23 at 5:30pm among Canadian and American writers. Panelists will read excerpts of three recent projects and discuss what theatre-making will look after the pandemic.
Playwrights include Brittany K. Allen (Studio Theatre); Keith Barker (Playwrights Guild of Canada); and a co-writers Marie-Ève Milot and Marie-Claude St-Laurent, joined by translator Rhiannon Collett (CEAD).
Exerpts will include the English language translation of Chienne(S)/ Still Life commissioned by Bouche Theatre Collective.
During this current period of uncertainty, it is with a special gratitude to Canada Council for the Arts and a special pleasure to be able to suport freelance and independent artists.
Francophone Canadian playwrighting is on forefront of international playwriting – their work is translated and presented all over the world. It is particularly hard to describe the unique “Langue D’Auteur” created by Francophone Canadian artists as there is nothing quite like it in Western English Language theatre. Imagine Shakespeare, Moliere, Sarah Kane and Martin Crimp smashed together on the page. The poetic or expressionistic are side by side with gritty realism and the mundane often becomes the fantastical. Ancient words, made up words, verse, prose, Joual (everyday Quebecois), other francophone dialects, all literary devices, often the live next to each other on the page.
Running Time: 1 hr 30 min
Characters: 3 M
This translation was made possible by a grant from Canada Council for the Arts.
THE HARDINGS
By Alexia Bürger | Translated by Alexis Diamond Translated from LES HARDINGS (Quebec, Canada)
“Pure genius – we are dealing with the work of an authentic artist, an artist whose intelligence is matched only by sensitivity” – Le Devoir
“… a perfect mix of intelligence and emotion. At the heart of the show is one of the most delicate questions: when tragedy strikes, who I responsible?”– The Sun
“…an enormously powerful and touching piece… an important theatrical experience…” – Mazrou
A Quebecois railway worker, an American insurance salesman and a New Zealander researcher have the same name: Thomas Harding. On the surface, they have nothing in common. Until one night, a train derails blowing up a city. The invisible tracks that connect these three existences begin to reveal themselves. Inspired by the documentary material, Alexia Boerger questions conformism and the individuals’ responsibility when tragedy strikes.
Les Hardings premiered Centre du Théâtre d’hui (2018). It received the Prix auteur(e) dramatique du CTD’A and was selected by Jury of Grand Prix du livre de Montréal 2019.
This translation was made possible by a grant from Canada Council for the Arts.
LES HARDINGS (2018) | Produced by Centre du Théâtre d’Aujourd’hui; Directed by Alexia Bürger; Dramaturgy by Fanny Britt; Featuring Martin Drainville, Patrice Dubois, Bruno Marcil Photo Credit: Le Petit russe
About the playwright
ALEXIA BÜRGER
ALEXIA BÜRGER (She, Her, Hers) is a Montreal actor, playwright and director. A long-time accomplice of Olivier Choinière, Alexia co directed Chante avec moi (Espace Libre / Festival TransAmériques / Centre National des Arts / Le Trident) and Polyglotte (Théâtre Aux Écuries / Festival TransAmériques). She co-created Alfred (Centre du Théâtre d’Aujourd’hui) with Emmanuel Schwartz. She co created the theatrical ambulatory Je ne m’appartiens plus (Espace Go) with Sophie Cadieux. She has worked on numerous installations combining fictitious and documentary material, visual art and sound research, such as Pensées courantes (Centre du Théâtre d’Aujourd’hui lobby over the 2016/2017 season). In 2017, she directed Les barbelés in France (Théâtre La Colline) which was revived in Quebec (Théâtre de Quat’Sous). In 2018, Alexia and collaborator Fanny Britt, won the Jean-Louis Roux Creative Fellowship of the Théâtre du Nouveau Monde for writing Lysis.
About the translator
Alexis Diamond
Alexis (She, Her, Hers) is an anglophone theatre artist, opera and musical librettist, translator and theatre curator working on both sides of Montréal’s linguistic divide. Her award-winning plays, operas and translations have been presented across Canada, in the U.S. and in Europe. She also collaborates internationally with artists on performance-installations involving text, movement and sound. In 2018, Alexis began a multiyear collaboration with professor Erin Hurley (McGill University) and Emma Tibaldo (Playwrights’ Workshop Montréal) researching the history of English-language theatre in Québec. In May 2019, Alexis Diamond served as co-artistic director of the famed Festival Jamais Lu, where she presented the mostly French-language Faux-amis with co-author Hubert Lemire, supported by CALQ. Her theatre translations are also in wide circulation: upcoming tours include The Problem with Pink by Érika Tremblay-Roy, published by Lansman (Le Petit Théâtre de Sherbrooke), and Pascal Brullemans’ The Nonexistant (DynamO Théâtre). Three translations were presented in the 2018-19 season (for Geordie Productions 2Play-Tour, Talisman Theatre and Le Petit Théâtre de Sherbrooke). Her translation of Pascal Brullemans’ plays for young audiences, Amaryllis and Little Witch, was just published by Playwrights Canada Press. Currently the Quebec Caucus representative for the Playwrights Guild of Canada, she is co-founder of Composite Theatre Co. and a long-standing member of Playwrights’ Workshop Montréal. She has a B.A. in Creative Writing (Concordia University) and an M.A. in English Studies (Université de Montréal).(Université de Montréal). Alexis has translated two of Marie-Claude’s other plays, Je n’y suis plus (I’m Not Here) and Andy’s Gone. www.compositetheatre.com
This season Bouche had the pleasure of facilitating workshops of Jack Paterson’s translation of of Martin Bellemare’s Western Gold: The Ballad of Georges Boivin and Johanna Nutter’s translation of Annick Lefebvre’s Barbed Wire with British Equity. Both these amazing francophone Canadian playwrights have been shortlisted for the Siminovitch Prize. Congratulations to all the nominees!
Martin Bellmare’s work was described as “dazzling formal mastery” and “virtuoso inventiveness” by the Prix Michel-Tremblay jury, A graduate of the National Theatre School of Canada French Language Playwrighting program. He received NTC’s Creation Award for La Liberté (2012) and Moule Robert (2017). In 2018, he received the Prix SACD de la dramaturgie francophone for Maître Karim la perdrix and the Prix Michel-Tremblay for Moule Robert.
Annick Lefebvre founded Le Crachoir, a company that examines the role of the author in the process of creating, producing and presenting theatre. She is the author of Ce samedi il pleuvait (Marc Beaupré, Le Crachoir, Aux Écuries, 2013), La machine à révolte (Jean Boillot, Le Préau / NEST-Théâtre, 2015), Barbelés (Alexia Bürger, Théâtre de Quat’sous et Théâtre La Colline, 2017) and ColoniséEs (René Richard Cyr, CTD’A, 2019). Her play J’accuse (Sylvain Bélanger, CTD’A, 2015) received the BMO Dramatic Writing Award, was a finalist for the AQCT Critics’ Award, the Prix Michel Tremblay and the Governor General of Canada Literary Award in 2015. Annick is currently adapting J’accuse for France (Sébastien Bournac, compagnie Tabula Rasa). Her work is published by Dramaturges Éditeurs.
This year’s winner of the Siminovitch Prize will be announced in a national, virtual ceremony on November 26 at 7 p.m. ET
By Nathalie Boisvert | Translated by Hugh Hazelton
During this current period of uncertainty, it is with a special gratitude to Canada Council for the Arts and a special pleasure to be able to suport freelance and independent artists. BoucheWHACKED! Theatre Collective New Translation commision series continues with the Govenor General Award nominated play Antigone in the Spring.
Francophone Canadian playwrighting is on forefront of international playwriting – their work is translated and presented all over the world. It is particularly hard to describe the unique “Langue D’Auteur” created by Francophone Canadian artists as there is nothing quite like it in Western English Language theatre. Imagine Shakespeare, Moliere, Sarah Kane and Martin Crimp smashed together on the page. The poetic or expressionistic are side by side with gritty realism and the mundane often becomes the fantastical. Ancient words, made up words, verse, prose, Joual (everyday Quebecois), other francophone dialects, all literary devices, often the live next to each other on the page.
“The Antigone of Nathalie Boisvert’s beautiful text is so close to us…It’s impossible not to feel contemporary resonance.” – Sorstu.ca
Antigone in the Spring
By Nathalie Boisvert | Translated by Hugh Hazelton
Translated from Antiogone au printemps (Quebec, Canada)
In this contemporary reimagining of Antigone, in a Montreal of now and myth, birds fall from the sky in the thousands and rot under the sun of an early spring. Antigone and her two brothers, Étéocle and Polynice, are swept up in the popular revolution rumbling through the city. Each must chooses a side: Polynice and Antigone join the protesters and the people, while Étéocle, joins the repressive forces of Creon and the State. During a riot, the two brothers clash and kill each other. Polynice’s body becomes evidence to incriminate the protesters. How can Antigone, despite all the obstacles, escape the fury of power? In times of unrest, how do you stay whole, and true?
Antigone au printemps was first produced in 2017 (Théâtre Fred-Barry) in Montreal by Le Dôme créations théâtrales, directed by Frédéric Sasseville-Painchaud. It received the Prix Émilie Augier from the Académie Française; and was shortlisted for the Governor General’s Award for French Language Drama. In May 2019, it received a dramatic reading at the Teamtheatre Global Quebec event in Munich, Germany.
This translation was made possible by a grant from Canada Cousil for the Arts.
Running Time: 110 min Characters: 1F | 2M
Original Production: Frédéric Millaire-Zouvi (left), Xavier Huard (right) and Léane Labrèche-Dor (centre) Photo credit: @Francis Sercia
About the playwright
Nathalie Boisvert
(She, Her)
Nathalie Boisvert holds a bachelor’s degree in acting and a master’s degree in drama from the University of Quebec in Montreal (1993). In 1997, her first play, The Sordid Story of Conrad B., was performed at the Festival ide Spa (Belgium), remounted in Brussels and translated into English by Bobby Theodore. In 1999, her work, L’été des Martiens (Lansman),__ premiered simultaneously in Quebec (Théâtre Niveau Parking) and France (La Comédie de la Mandoune) and again produced simultaneously in 2006 in Dusseldorf (Landstheatre) and Berlin (Grips) in German translation by Frank Heibert. Translated into English by Bobby Theodore, it was also produced in 2002 by Theatre Direct (Toronto). In 2006, her play Vie et Mort d’un village, received lauréate des Journées de Lyon (Éditions Comp’Act) and she received le Prix Gratien-Gélinas in 2007 for Buffet chinois. Her Antigone au printemps was a finalist for the 2018 Governor General’s Award French Language Drama and received the Prix Émile-Augier.
About the translator
Hugh Hazelton
(He, Him)
Hugh Hazelton is a Montreal writer and translator who specializes in Quebec and Latin American literature. He has written four books of poetry, including Antimatter (Broken Jaw Press, 2nd edition, with CD, 2010), as well as Latinocanadá: A Critical Study of Ten Latin American Writers of Canada (McGill-Queen’s University Press, 2007), which received the Best Book of the Year award from the Canadian Association of Hispanists. He has translated twenty works of poetry, theatre and fiction from French, Spanish and Portuguese into English. His latest translations are Volume I of the complete works of the Argentine avant-garde poet Oliverio Girondo (Wolsak & Wynn, 2018), and The Doorman of Windsor Station, a play by Julie Vincent (Playwrights Canada Press, 2017). His translation of Vétiver, a book of poems by Joël Des Rosiers, won the Governor General’s award for French-English translation in 2006. He is a professor emeritus of Spanish at Concordia University in Montreal and former co-director of the Banff International Literary Translation Centre. In 2016 he received the Linda Garboriau Award from the Banff Centre for his work on behalf of literary translation in Canada, and in 2018 he was awarded the Prix de poésie Lèvres urbaines by Les Écrits des Forges for his dedication to the advancement of poetry. He is an honorary member of the Literary Translators’ Association of Canada.
