Photo: Marie-France Coallier The Duty
The movements offer another language physically, in order to show the effect of a discourse that is paradoxical on the body, say Alix Dufresne and Marc Béland.
“I hope they [the link between] the ability still easily of the taxpayers, the wealthy, multinational companies, big industries, banks to circumvent the tax man while we are told that we spend too much together “, due in 2015, at the micro of Marie-France Bazzo the intellectual Alain Deneault. “What we must understand is that the two phenomena work hand-in-hand” was then the author of tax Havens, the canadian technology (Écosociété, 2014). “Today, when we’re waiting for a bus for 40 minutes at -20 degrees, it is that there is the problem of tax havens. When waiting months for an urgent surgical intervention in a hospital, it is that there is the problem of tax havens. When a theatre company cannot fund the lesser show, it is that there is the problem of tax havens. “Listening to the morning show, that morning, behind the wheel, the actor Marc Béland has been taken in body by the indignation. Indignation with Alix Dufresne, it goes back today at the scene, in Hidden Paradise.
“How is it that one is not in the street, to make a difference in the business together, when we know of cases of the same ? “demand still today Marc Béland. To channel frustration, anger, greed, militancy, desire for commitment, he summoned the director Alix Dufresne, who jumped in the train of the performance policy.
“I wanted to hear in a theatre the word of Deneault, more political, more academic,” says Marc Béland. “We have used the ploy of repetition, of hammering for the decline,” say the creators. And the body respond, in an intuitive manner, sometimes somatic, in this interview repeated until more thirst. The movements offer another language, another reading, in order to “show the effects of this speech offensive, which we know we can’t change anything, on our body, on the body,” say the two accomplices.
Plant the nail
“The idea of a manifesto directed immediately imposed, says Alix Dufresne. Tax evasion, one has the impression that it’s only the rich, the 1 %, but when Deneault speaks, we understand that it affects everyone. “Marc Béland adds, and figure :” This is 165 billion dollars per year are lost in Canada, and it is only after the numbers that the banks give. “
The performance starts with listening to the full eight minutes of the interview. “It’s not super sexy, as the beginning of the show , “admits a smiling Ms. Dufresne. The interview, the two performers have learned from the ” with the comma near “, is repeated five times, each repetition of which is crossed by a new implementation body. “First we listen ; then, they made a gymnastics slow and absurd ; then, very close to the audience, it is said in the text as quickly as possible, so fast that it becomes an emotional outlet,” explain the creators. “Deneault said,” Mr. Béland, as long as you will not feel it in our flesh, as our children will not die at age 12 of the cancer, it will not move as a citizen because we are in an environment that is too comfortable. “
To emphasize this aspect, the two performers are forbidden to themselves the comfort, preventing the ease and control of partition, the execution of which must remain full of imperfections. “When we finish a show, you’re not well, both, really,” says the director. A theatre of pain ? “When not even, replied Mr. Béland. But the expense, of survival, of commitment, of absurdity, yes. “
Their satisfaction comes when the spectators come to see them to say that they ” felt in their bodies. That repetition had its effect. They tell us that the first time they hear the interview ; the second time, when the body shall take on board, they hear better, and after that they understand it and they feel “.
This political theater, engaged, would not gain it not to be circulated other than at the ASTA or to The Chapel — public allegiance, if not convinced of in advance, in order to gain in efficiency ? This does not break it not also the paradox of comfort — that of the spectator who sees proposals glued to his thought, which are traditional, comfort, which breaks down the need, the possibility of commitment, both towards one’s work in society ? “But I dream!!!, exclaimed Alix Dufresne, I dream of the Hidden Paradise pass to Jean-Duceppe or the green Curtain ! With discussion after-show ! And it is sure that we want that the spectators jump from their seats to go and vote not for the CAQ, illustrates Ms. Dufresne. We, thus, one passes to the action, she says, even if it is so absurd — because, that is what it’s going to change, at bottom, a show of more ? “”But at least, during this time, we do something concrete,” says Marc Béland.
According To Alain Deneault
“I’m not a dance expert,” says the author Alain Deneault, ” and I’ve only seen a part of the service there was a year and a half. What I saw, and I am a philistine, I want to repeat, it was the difficulty for the body, this race, this species of face-to-face, body to body that represents the metabolism of a speech which shakes the foundation of habitual thinking. One sees in the body the effects of a discourse that is paradoxical — in the strongest sense of the term, when one feels that, if one wants to review the reality in which tax havens, it is necessary to review everything : the State, the law, the system… ”
Creation and interpretation : Alix Dufresne, and Marc Béland. The Chapel Scenes contemporary, from 29 October to 6 November.