Bouche Theatre Collective

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TheatreArtLife.com Podcast Interview with Bouche’s Jack Paterson

TheatreArtLife.com Podcast Interview with Bouche’s Jack Paterson

by | Mar 3, 2021 | News, Uncategorized

TheatreArtLife.com Podcast Interview with Bouche’s Jack Paterson

Bouche’s Jack Paterson  joined Ana Aguilera for a TheatreArtLife.com podcast. An online series putting the spotlight on those who create live entertainment around the globe, the culture creators and the backstage masters.

We discussed international, multicultural, multilingual and devised practices and work including Theatre Hora (Zurich), Balinese Performing Arts, Global Hive Labs., Access, Translation and contemporary western practices.

 

The TheatreArtLife Podcast
Episode 49:
Contemporary multicultural theatre with Jack Paterson

Free Listening on Podbean App

New Translation Commissions: And if one night

New Translation Commissions: And if one night

by | Feb 26, 2021 | Lisa L'Heureux, Mishka Lavigne, News

And If One Night

By Lisa L’Heureux | Translated by Mishka Lavigne

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 support freelance and independent artists. BoucheWHACKED! Theatre Collective New Translation commission series continues with the award winning Et si un soir.

Running Time:
1 hr 20 min

Characters:
1 M | 3 F

This translation was made possible by a grant from Canada Council for the Arts.

And If One Night

By Lisa L’Heureux | Translated by Mishka Lavigne
Translated from ET SI UN SOIR (Quebec, Canada)

“Modern and poetic…four characters whose desires for true human contact seek to transcend the virtuality of screens and the superficiality of online relationships. …Lisa L’Heureux’s characters use the darkness of night to reveal their true colors. Even if they’re hide behind an avatar or keyboard to communicate…Mia, Danielle, Anita and Joseph emerge from the shadows with courage and clumsiness as believable as it is touching. Her pen rich with accuracy and affection, Lisa L’Heureux portrays a generation in search of self and real, concrete meaning to give to its intimacy. “ – ici.radio-canada.ca

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 was directed by Lisa L’Heureux, produced by Théâtre Rouge Écarlate with the support of Théâtre du Trillium, Nouvelle Scène Gilles-Desjardins in Ottawa, 2018 and received a residency at Chartreuse-lez-Avignon, France, 2015. It was a shortlisted for the Governor General’s Award French Language Drama 2019, the Prix du livre d’Ottawa (2019) and the Emerging Author Award Prix littéraire Émergence de l’AAOF (2019).

It was the recipient of the Prix littéraire Trillium (2019) and Lisa’s production won the Prix Rideau, Outstanding Production Award.

This translation was made possible by a grant from Canada Council for the Arts.

Et si un soir (2018) | A Théâtre Rouge Écarlate production, with the support of Théâtre du Trillium, presented at La Nouvelle Scène Gilles Desjardins.
Photo credit: Jonathan Lorange

About the playwright

LISA L’HEUREUX

LISA L’HEUREUX (She, her, hers) is an Ottawa-based playwright, director, and dramaturg. She is a graduate of  University of Ottawa (B.A. in Theatre and History) and of University of British Columbia (M.A. in Theatre Research). With her company, Théâtre Rouge Écarlate, she has created Ciseaux, Pour l’hiver (Prix Jacques-Poirier 2017), and Et si un soir, cocreated Proximité and directed Projet D. She has had playwright residencies in Belgium (Mariemont, CED-WB), France (La Chartreuse de Villeneuve les Avignon) and with Théâtre du Trillium (Ottawa). She has contributed to many collaborative pieces, such as À quoi ça sert d’être brillant si t’éclaires personne (NAC French Theatre). As a dramaturg, Lisa worked with Satellite Théâtre (Moncton) and with Sudbury playwright Antoine Côté Legault. She is completed a podcast version of Et si un soir.

About the translator

Mishka Lavigne

Mishka Lavigne (She,her, hers) is a playwright and literary translator based in Ottawa/Gatineau. Her translation work for theatre has been seen in Ottawa, Montreal, and France. Héritage, her translation of Lorraine Hansberry’s A Raisin in the Sun opened the 2019-2020 season at Duceppe in Montreal.  She is currently working on a French translation of Karen Hines’ All The Little Animals I Have Eaten. Her translations of poetry were published in Ontario and Québec, included the recently published Cette blessure est un territoire, a French translation of Billy-Ray Belcourt’s Griffin Poetry Prize winning collection This Wound is a World. Her own works include Cinéma (Théâtre la Catapulte and Théâtre Belvédère.), Vigile (Théâtre Rouge Écarlate). Her play Havre recently won the Governor General’s Literary Award for Drama (French) and was shortlisted for the Prix Michel-Tremblay.

Translation Showcase

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Podcast: Et si un soir

Podcast: Et si un soir

by | Feb 26, 2021 | et si un soir, Lisa L'Heureux, News

Podcast: Et si un soir

Et si un soir
by Lisa L’Heureux

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.

Available on all following platforms:

Credits

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

Artists in Conversation – Contemporary Writing in Canada & USA

by | Feb 22, 2021 | Marie-Claude St-Laurent, Marie-Ève Milot, News, Rhiannon Collett, Still Life

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.

FB Event Page: https://fb.me/e/FlxcWgmD
Studio Theatre:  Studio Theatre | Artists in Conversation

Support for this event has been provided by The Embassy of Canada in Washington.

New Translation Commissions: The Hardings

New Translation Commissions: The Hardings

by | Feb 2, 2021 | News

The Hardings

By Alexia Bürger | Translated by Alexis Diamond

 

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