Alexandre Goyette, between the elite and the people

Alexandre Goyette, entre l’élite et le peuple

Photo: Valérian Mazataud The Duty
More discreet on the boards for a few years, Alexandre Goyette returns to the theatre since last season.

More discreet on the boards for a few years, Alexandre Goyette returns to the theatre since last season, with the adaptation of the Decline of the american empire and The chemin des Passes-Dangereuses. For her first major role at the TNM, it rubs in the character of Coriolanus, a challenge that he welcomes with open arms : “The pleasure of repeat, seek, err, try a proposal and validate it on the stage in front of an audience, I missed it. “

The proposal has arrived by surprise to Goyette : “I had met Robert Lepage to the recovery of King Dave the Periscope. I had offered to cooperate in the Barracks [the current center of creation Lepage], but it had never presented, in particular because at the time, I was not confident as an actor and as a creator. I’m glad that it happens today because I don’t feel like an impostor. “

The actor was first known for the role of Dave — a young bum who would like to be bigger than nature, but that does not have the wherewithal or physical or psychological in the play King Dave, as he himself has written, in a role far removed from those that is now Goyette.

The pleasure of repeat, seek, err, try a proposal and validate it on the stage in front of an audience, I missed it

— Alexandre Goyette

He did not, however, be taken with a casting that glues to the skin : “there is inevitably a matter of physics, the more I am imposing that, at the time, but this fragility inside me again, and it allows me to foil the expectations, to go where we didn’t expect. And, in some way, Coriolanus, and Dave resemble each other : they have all the tools to get by, but they are conditioned by a single idea, unable to deviate from them. “

Caius Marcius, a roman warrior without peer, gets the nickname of Coriolanus by taking the enemy city of Corioles. The piece tells the story of a key episode of early years of the roman Republic, who must learn to manage the recent release of the monarchy and the establishment of links between the elite and the people (the patricians, the class to which belongs Coriolanus, and the plebs), which will not be without bumps.

“He is neither a tyrant mad nor valued. This is not a hero without flaws. Myself, I’m defending him and, at the same time, I judge. Coriolanus does not like the people, it is true, and he said very clearly, but it was mostly against hypocrisy and manipulation. The representatives of the people manigancent, and this is what the revolt, ” says Goyette.

The complexity of the character is due in particular to its relation to the life policy : “It has been high for a single thing, to be a warrior covered in glory, but humble, who does not need recognition. Pushed into politics by his mother, Coriolanus is like a dog in a game of skittles when he tries to become consul. “

Through all of these issues, Coriolanus is also a family tragedy, the ambiguous relationship between Coriolanus and his mother being both a source of loss and possible redemption of the character. Unable to play the game and to borrow the language of the policy, accused of treachery, the warrior becomes obsessed with revenge, going so far as to ally with the enemy to destroy Rome.

The story is told in an updated version by Michel Garneau, whose “tradaptations” Shakespeare found recently scenes from Macbeth Angela Konrad at Usine C in 2016. Coriolanus, a play in free verse and in French as “normative” — in contrast to Macbeth, written in the spoken language in quebec — provides a certain freedom to the actors : “The language of Garneau is very straightforward, the plot is tight and helps to understand the political system away from us. There is also very little punctuation, which allows us to play with the rhythm and the direction of the replica. “

Coriolan also poses the challenge for the actors to resume a show created to Stratford last summer and work with a stage director who has attack again in the text of Garneau, after mounted in 1993. “The performance space is not the same, so we built on the built environment, providing our color. Robert Lepage exchange of things by itself, it is still a work in progress, and it is open to proposals. The command was not to remake the same show, on the contrary. “

The piece is interpreted as a plea in favour of an elite that thinks it better than the people, or as a defence of the need for democracy as a bulwark against the elite. Don’t count on the show to respond to this ambiguity : “I think that we present a vision of the neutral character, and political issues. Political representatives who do not know how to speak to the people, even if they have the intellectual skills to lead, there are still ! In the end, it is always more interesting to let the public decide. “


Text : Shakespeare. Translation and adaptation : Michel Garneau. Directed by : Robert Lepage. The Theatre of the New World from January 15 to February 9, 2019.

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