In their own words
This video features stories from Quebec theatre artists who share their positive experiences of previous intercultural artistic collaborations.
The Conseil québécois du théâtre (CQT) would like to sincerely thank Casteliers for the loan of its premises in the Maison internationale des arts de la marionnette (MIAM), where this video was shot. Its generosity was crucial to the success of this project, and we are honoured to be able to rely on our partnership with this organization.
The CQT would also like to thank Productions Ondinnok for so generously making its premises available. Thanks to your solidarity we were able to finish shooting the video in the best possible conditions, despite unreliable weather and city-wide power cuts.
The main goals of this capsule are to:
Production and editing: Albert Kwan
Artistic direction: Geneviève Bélisle and Raffaela Siniscalchi
Concept: Monia Abdallah, Geneviève Bélisle and Raffaela Siniscalchi.
Three shows that were presented publicly in Quebec in the past five year were chosen by a jury of peers based on the following criteria:
Here they are!
In Water’s Whisper, Hélène Ducharme and Mamby Wine (aka Patricia Gomis) take a fresh look at the day-to-day realities of water. Their creation highlights the value of clean drinking water and the need for access to it. The traditional songs and live music of multi-instrumentalist Dramane Dembelé (percussion, Peul flute, and n’goni) envelop Water’s Whisper in a poetic, dreamlike atmosphere.
Actor and artistic director Mamby Mawine (aka Patricia Gomis) is the founder and director of Djarama Theatre Company, which combines art and social issues with a humanistic approach. Since 2005 it has have tackled subjects such as child marriage, female genital mutilation, girls’ access to education and the environment. It performs in a variety of settings that are accessible to everyone.
Motus creates original plays for young audiences and their families. The company works with puppets and live music, building bridges and fostering free-flowing dialogue between cultures. With its resolutely global outlook, the company embraces and emphasizes collaboration with artists from everywhere, through national and international co-productions.
Jasmine Dubé designed this show for children and their adult companions. It is a reading-performance featuring four artists from diverse backgrounds. The choir members use words and lullabies in French and in their native languages to tell Marguerite’s story from birth to the age of 97. Through a creative lab headed by the author/director, Théâtre Bouches Décousues (TBD) prompts four artists from different cultural backgrounds to come together and share as they work through this poetic theme and perform it for the a audience.
Théâtre Bouches Décousues (TBD) is a creative company that promotes equality between children and adults, asserting that children are not just the spectators of tomorrow. They are at the heart of everything the company does. Known for proclaiming loud and clear that children’s theatre is a genre in its own right, TBD contributes to the development of playwrighting and the emergence of new writing and plays to the widest possible audience without any discrimination.
Born and raised in Kitchike, Pierre Wabush was destined for an extraordinary fate… In his forties, childless, without a career or any particular talent, he became the pariah of Kitchike after a scandal exposed the corruption surrounding the community’s chief. Wabush, in short, is trapped in a world sending him back to his own inner neuroses. Involuntarily dragged into a mystical and initiatory quest, he will now have to face his past, his fears, and misconceptions to get out of this dimension and return home, forever changed.
Founded in 1985, Ondinnok was part of the thrust to create an Indigenous platform and build a theatre based on the ancestral values of the First Nations. The company asserts its identity proudly, boldly and with commitment and actively transmits knowledge to the next generation of artists. Ondinnok’s productions give Indigenous peoples a voice. The company also hopes to build bridges between Indigenous and non-Indigenous peoples in a quest for reconciliation.
After dedicating more than four decades to the creative process, Nouveau Théâtre expérimental (NTE) has an extensive repertoire of over 110 theatre productions. Founded in 1979 by a team of inspired creators like Robert Gravel and Jean-Pierre Ronfard, the company has been breaking theatrical bounds with its crazy wisdom. The current artistic directors, Daniel Brière and Alexis Martin, are following in the footsteps of their august predecessors, coming up with bold new productions that never stop questioning the “how” and the “why” of theatre.
A process in critical thinking