A GLIMPSE INTO NEW TRANSLATION INTERNATIONAL DEVELOPMENT DIGITAL SERIES
Bouche Theatre Collective & British Equity London
STILL LIFE
By Marie-Ève Milot & Marie-Claude St-Laurent Translated by Rhiannon Collett Translated from Chienne(S)
Featuring Chantelle St Clair, Molly Small, Jamie Newel, Mary J Tillett, and Hemi Yeroham | Produced by Lola May & Jack Paterson
“…this show crystallizes the revival of Quebec’s feminist theatre, it is a vibrant homage to art, the place of women to challenge everything, to turn everything upside down, to move from the shadows to the light, from death to life, from imprisonment to freedom.” – Le Devoir
On her 30th birthday a woman locks herself in her apartment. Paralysed by fear, she examines the shards of her life with a mysterious young woman. This is a poetic and raw portrait of anxiety disorders and their causes.
Created with extensive research with le Centre d’études sur le stress humain, Chienne(s) was produced by Le Centre du Théâtre d’Aujourd’hui (CTD’A). The production was presented at la Salle Jean-Claude-Germain to sold out houses at Montreal’s Centre du théatre d’aujourd’hui.
This translation was commisioned by Bouche Theatre Collective with the support of Canada Council for the Arts.
Meet our Playwrights & Translator
About the playwrights
Marie-Ève Milot & Marie-Claude St-Laurent are the Artistic Directors of Théâtre de l’Affamée. Mandated to invest in a (re) new Feminist/feminine theatre, they create complex characters that can be identified outside the binary mode of gender, question normativity and provoke new possibilities. Active members of Femmes pour l’Équité en Théâtre (F.E.T.), they co-wrote the Jeu magazine cry t action, addressing the under-representation of women in theatre, and created reference documents for students and faculty about the under-representation of women and the systems that marginalize them. They have written 8 works together including Cour à scrap – Portrait d’une famille reconstituée, Débranchée (Unplugged) (shortlisted for the prix Louise-LaHaye 2017) and Guérilla de l’ordinaire, (shortlisted for the prix Michel-Tremblay 2020). Their essay La coalition de la robe, co-written with Marie-Claude Garneau, was published in Editions du remue-ménage in 2017. Théâtre de l’Affamée
Marie-Ève Milot
(Elle)
Since graduating l’École de théâtre du Cégep de Saint-Hyacinthe, Marie-Eve Milot has been deeply involved in the theatre world. As an actress, she has collaborated with Hugo Bélanger (Princess Turandot, Pinocchio, Peter et Alice), Marc Beaupré (Ce samedi il pleuvait), Serge Denoncourt (Thérèse et Pierrette à l’École des Saints-Anges), Geneviève L. Blais (Si les oiseaux, Local B-1717) and Sébastien David Scratch. She was seen le Petit Théâtre de La Colline in Paris, in Les barbelés by Annick Lefebvre, staged by Alexia Boerger, and then remounted the show at the Théâtre de Quat’Sous. She can be seen on large and small screen (Les pays d’en haut, 5e rang).
Marie-Claude St-Laurent
(Elle)
Marie-Claude St-Laurent is an actor, author, feminist activist, co-editor of La Nef aux Éditions du remue-ménage. On the small screen, she was seen in the popular youth show Vrak La vie and is more recently as a cast member in L’écrivain public III and des Sioui-Bacon V. On stage, she produced Guérilla de l’ordinaire, Chienne(s), Toc Toc, Grease and Aller chercher demain. A member of the steering committee of Espace Go, and collaborated in the research study conducted by the RéQEF.
About the translator
Rhiannon Collett
(They, Them, Theirs)
Rhiannon Collett (they/them) is an award-winning non-binary playwright, performer, director and translator based in Vancouver. They are interested in interdisciplinary creation processes, sexual labour, gender performativity and science fiction. Their works include Miranda & Dave Begin Again, Wasp, Tragic Queens, and The Kissing Game, an urban fantasy revenge drama that explores love, betrayal, friendship and identity commissioned by Youtheatre (Montreal) and Young People’s Theatre (Toronto). It won the Montreal English Theatre Award for Outstanding New Text.
Rhiannon’s work has been presented internationally at the LungA festival in Seyðisfjörður, Iceland, and at the Festival les Petites Formes in Fort-de-France, Martinique. Last year they were artist-in-residence at the Mauser Eco House in Costa Rica, and the Performing Arts Forum in St. Erme, France. www.rhiannoncollett.com
From Montreal to London via translator Johanna Nutter’s skype
This March, Bouche was kindly invited by the British Equity WSW London Office to lead some new play development activities. Taking advantage of this opportunity to introduce British artists to francophone Canadian works, we workshopped two translations. Barbed Wire translator, Johanna Nutter, joined us from Montreal via skype.
BARBED WIRE By Annick Lefebvre | Translated by Johanna Nutter
A strand of barbed wire has started to grow inside you. You’ve got about an hour before your lips are sewn shut. What will you say while you still have the time? What will be your last word? This play is written with gender fluidity in mind.
ABOUT THE PLAYWRIGHT: ANNICK LEFEBVRE Before completing her degree in criticism and dramaturgy, Annick Lefebvre had placed her buttocks in Wajdi Mouawad’s Rehearsal Hall for Incendie (Scorched). In 2012, Annick 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.
Special thank you to actors to Stevie Skinner and JD Hunt.
BoucheWHACKED! Theatre Collective and British Equity London Branch
WESTERN GOLD: THE BALLAD OF GEORGES BOIVIN
By Marting Bellemare | Translated by Jack Paterson Translated from Le Chant de Georges Boivin (Quebec)
Workshoped with Micheal Grinter and Charles Roe | Produced by Lola May and Jack Paterson
At 77, Georges Boivin decides “gives the dice a roll”. Georges just lost his wife, you see, the “centre of his universe”. He’s terrified “he no longer exists for anyone”. But there is life after your 70s and it must continue even after great loss. With his three friends, all the same age as he, he sets out on road trip from Québec to Vancouver, in search of his first love who he hasn’t seen in 50 years. Recipient of Le Prix Gratien-Gélinas 2009
This translation made possible by a commission from Western Gold Theatre (Vancouver) and a grant from Canada Council for the Arts.
This September and October, Bouche was kindly invited by the British Equity WSW London Office to lead some new play development activities. Taking advantage of this opportunity to introduce British artists to francophone Canadian and international works, we workshopped three translations.
From Alaska (Quebec, Canada) By Sébastien Harrisson | Translated by Leanna Brodie
One summer night, a wild-eyed teenage boy bursts into the quiet suburban home of a woman he knows only as “Miss”, declaring that neither of them will leave her house until he gets answers for questions are too painful to ask.
About the playwright: Sébastien Harrisson One of the most innovative voices in contemporary Quebecois theatre, Sébastien Harrisson trained in drama writing at the National Theatre School of Canada. He is the author of over a dozen plays, he is established on both on the Quebec and French stages. With his work has been translated into German, English, Spanish and Flemish.
Special thank you to the wonderful artists Rosie Akerman, Eleanor Bennett, Joan Blackham, Viny Lad, Kavé Niku, Caroline Partridge Jay Ramji, Saria Steeland and James Watterson; Vancouver translator Leanna Brodie joining us a 6AM Vancouver time by Skype, and Lola May for organizing it!
This September and October, Bouche was kindly invited by the British Equity WSW London Office to lead some new play development activities. Taking advantage of this opportunity to introduce British artists to francophone Canadian and international works, we workshopped three translations.
The Naughty Children’s Bedtime Stories (Quebec, Canada) By Étienne Lepage | Translated by Jack Paterson
Eight horrible stories spring from the fertile imaginations two little good-for-nothings who refuse to go to bed. This play was 2015 French Language Governor Generals Award finalist.
About the playwright: Étienne Lepage Étienne Lepage is a multiple Governor General Award nominated playwright, screenwriter, translator, and transdisciplinary creator. Based in Montreal, his work has been presented across North America and Europe. His other writing includes Rouge Gueule, L’Enclos de l’éléphant, Ainsi parlait.
Special thank you to the wonderful artists Rosie Akerman, Eleanor Bennett, Joan Blackham, Viny Lad, Kavé Niku, Caroline Partridge Jay Ramji, Saria Steeland and James Watterson; Vancouver translator Leanna Brodie joining us a 6AM Vancouver time by Skype, and Lola May for organizing it!
March 24, 2018, 4 PM Location: Landor Spaces: 70 Landor Road, London, United Kingdom SW9 9PH Standard £12 – Concessions £10 Oh Canada F(eh)stival
Location
Landor Spaces: 70 Landor Road, London, United Kingdom SW9 9PH Standard £12 – Concessions £10
Oh Canada F(Eh)stival In association with Bouche Theatre Collectve
NOUS VOIR NOUS: 5 Faces of Camille Brunelle
Written by Guillaume Corbeil Translated into English by Jack Paterson
Who are we? What are we? What defines identity, language, and human interaction in the era of online social networking? Five online personalities create their tastes, their knowledge, and everything what they have seen, thought, experienced or imagined in a battle to define their personalities and place in the world.
Reviews: “…the highlight of last season…” – Philippe Couture, Voir “…provocative, compelling…audacious and successful both in form and in content.” – Luc Boulanger, La Presse
“A brilliant text by Guillaume Corbeil…a reflection on our disturbing need for attention, our desire for a stage, our indifference, and especially our solitude .” – Natalia Wysocka, Métro
About The Playwright: Guillaume Corbeil
Guillaume Corbeil is a leading new voice in Quebecois francophone theatre. In 2008, Guillaume Corbeil published a collection of articles entitled L’art de la fugue (Éditions La Instant), which was a Governor General’s awards finalist and recipient of the Adrienne-Choquette award. In September 2009, he published his first novel, Pleurer comme dans les films (Leméac). In 2010, commissioned by Libre Expression, he wrote Brassard, a biography of acclaimed director André Brassard. In 2011, he graduated from the French language writing program at The National Theatre School of Canada. Since then he has written for the stage Le Mécanicien, Tu iras la chercher and Nous voir nous. His work has been seen at Espace Go and Theatre d’aujourd’hui. He was awarded the Critics ‘ Prize for the Best New Play, the Prix Michel Tremblay and the audience choice Primers Festival in Saarbrücken, Germany.
About the Play:
“Social Media is such a rich subject. This network requires us to ask ourselves fundamental questions about our society: what exists? Where do we exist? Who are we? It’s also a piece on the loss of the language; we communicates on Facebook by clicking “like” and exchanging YouTube videos! We “like”, but have nothing to say and define ourselves through the words of others.” – Guillaume Corbeil
Production & Awards: 2013: – Théâtre PàP, Directed by Claude Poison and was presented at the National Arts Centre (Ottawa) – Espace Go (Montréal) – Théâtre de la Manufacture (Avignon) – The Primeurs Festival (Saarbrücken, GER)
2014: – Theater der Jungen Welt (Leipzig, GER) under the title Man sieht sich, translated by Frank Heibert
Awards: Prix Michel-Tremblay (Montreal, CAN) Le Prix De La Critique: Outstanding New Text (Montreal, CAN) Audience Choice Award, Primeurs Festival (Saarbrücken, Germany)
