les véritables aventures de don quichotte de la mancha a quebecois

Transcription

LES VÉRITABLES AVENTURES DE
DON QUICHOTTE DE LA MANCHA
A QUEBECOIS-CATALAN COPRODUCTION
SORTIE DE SECOURS – GATARO – PUPULUS MORDICUS
LES VÉRITABLES AVENTURES DE DON QUICHOTTE DE LA MANCHA
PRESENTATION
Two companies from Québec, Théâtre Sortie de Secours and Pupulus Mordicus, in
association with a company from Barcelona: Gataro, has started a collective project. This
project consists in creating, in three different periods of development, one original creation
about the most famous Cervantes’ character: Don Quichotte. The premiere of Les
véritables aventures de Don Quichotte de la Mancha will take place the following
February 21st of 2017 in Theatre Périscope in Québec (Canada).
IPAM is an International Performing Arts Meeting to exchange points of view and
promote the production and exhibition of collaborative projects between international and
Catalan artists. We think that Les véritables aventures de Don Quichotte de la Mancha
shows itself as an ideal project for the IPAM, because is the result of the Festival main
goal.
Les véritables aventures de Don Quixote de la Mancha will generate a meeting between
creators, actors and production teams from Québec and Barcelona, and it will be shared
with the Canadian and European audience.
From the artistic side, we generate the union between different genres: novel, theatre and
puppets. We’ve been inspired by the novel of Don Quixote which it will be incarnated by
the human interpretation and the puppet language. Our research will be address to connect
the artistic codes linking the scenic subject and the creation contents. It happen the same
with the linguistic treatment of the project, always oscillating between French, Spanish,
Catalan and the Quebec dialect.
First of all, the main goal of this creation and co-production project is setting up a bridge
between the Spanish, Catalan and Quebec cultures.
This original creation has been inspired in Cervantes’ work, one of the most important
novels in the world. And we will explore the thin barrier which separates the reality from
the fiction.
Cervantes and his character Don Quixote will be both testing this true constantly,
discovering the ambiguity of the relationship between fiction and life. But, afterwards,
could be fiction the result of the personal experience of the human being?
Contact // Savina Figueras · [email protected]
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THE CO-PRODUCTION AND ITS AIMS
Canadian and European Networks
From the Canadian side, Sortie de Secours will coproduce with Pupulus Mordicus, who
has a large experience with puppets. And, from the European side, the Catalan company
Gataro from Barcelona will take the production by its artistic director, Victor Alvaro, who
has worked as an actor with Philipe Soldevila in the first international coproduction of
Sortie de Secours (Québec – Barcelona, coproduced by Sala Becket from Barcelona).
After this production, both companies have been developed values artistic links.
Creation process and calendar
We have decided to work with enough time to develop the creation project aimed either in
text writing or scenic writing. The storyline will be developed during the spring 2016,
when it will take place the first scenic and dramaturgic laboratory in Québec.
The first whole text version will be written during the summer 2016, according with the
results of the first laboratory.
On July 2016, we would like to advance the project in the IPAM, Festival Grec, in order to
contact with Spanish and European producers and distributors.
In the autumn 2016 will take place the second lab in Quebec. We will show the second lab
results in Fenêtres de la creation with the purpose to contact with several producers from
Quebec.
During January and February 2017, the rehearsals start with the final text in order to
represent the first shows in Periscope Theatre (from February 21st to March 11th of 2017).
Immediately, the production will be moved to Barcelona during 4 weeks (July 2017) in
Almeria Teatre, with the purpose of being part of the Festival Grec 2017 program.
At last, in autumn 2017, if everything goes as we’ve planned, we would like to advance
the co-production to the Temporada Alta Festival of Girona and Perpignan Festival.
Some words from Sortie de Secours
In summary, through this international co-production, Sortie de Secours wants to expand
its European networking in the coming years. After Québec-Barcelona and our
collaboration in Conte de la Lune, presented in Madrid and Barcelona, this is the fourth
time that a creation associated with Sortie de Secours will be presented in Spain during
important international festivals. With the CAC help, we hope to consolidate our presence
in Spain and extend it to France, looking for a partnership with the National scene of
Perpignan.
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Some words from Gataro
We could say that the motivations that lead us to do and defend Don Quixote are manifold.
First of all, the greatness of Don Quixote character, its universality, the great theatrical
sense of the novel, the greatness of its author, and, of course, the fact of being on the 400th
anniversary of the death of Cervantes. But above all those reasons, the main motivation is
the good connection emerged between Philippe Soldevila and Victor Alvaro, both
directors of Sortie de Secours and Gataro.
The fact is that a few years ago we found a group of professionals across the Atlantic with
whom we share the same passion for the theater, even if we come from a different cultures
and languages. We find out very interesting and enriching the fact that Quebecoise and
Catalan creators have different cultural backgrounds, which has contributed to give a great
artistic interest to the new creation.
After the experience of Québec-Barcelona, we could confirm that the language is not a
barrier for transmitting a story. The use of different languages provides to the show a
better universal value. The contrast of languages also helps to the both sides: comic and
dramatic sense of the pieces and acts also as a mirror effect to the audience, depending on
the nationality of each one.
With the collaboration of the Quebecoise Pupulus Mordicus puppet company, the scenic
theater language of objects and puppets has brought great opportunities to the proposal of
recreating the multitude of characters and situations in Don Quixote.
This international co-production is a golden chance for Gataro to expand in Quebec and
the Canadian francophone, because Sortie de Secours is developing a tour through Canada.
Moreover, we would try to develop a tour in Spain. Finally, the French-Catalan aspect of
the adventure will give us the opportunity to extend this tour to France. If we can present
our coproduction in Perpignan, it will be useful for extending a tour in France. In short,
this international co-production about Don Quixote represents an incredible opportunity
that we can’t lose because it will allow us to shine brighter than ever, and on both sides of
the ocean.
For all that, Don Quixote is the perfect setting to develop our project for the transatlantic
game between Sortie de Secours, Pupulus Mordicus and Gataro.
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THE PROJECT
Creation approach: narrative subterfuge and dramatic storyline
In his novel, Cervantes says that many authors before him have recovered, through the
research, this "true story". The story of a deranged man (of reading cavalry novels) who
became, one day, "Don Quixote, the knight errant". The main source of information for
Cervantes was Cid Hamet Benengeli, an Arab historian. So, Cervantes put himself as a
translator and narrator of Cid Hamet Benengeli connecting the true facts with the readers.
But, at the same time, Cid Hamet Benengeli is a Cervantes’ invented character in order to
guarantee the "truth" of his story.
Our approach to the creation aspires to update the ambiguity between true and false, reality
and fiction. We think that those ambiguities are the main originality of the Don Quixote
novel. At least, that’s why Don Quixote is considered the first modern novel of the World
Literature. So, for our play we have decided to develop it in the same way: from several
“true facts” discovered and narrated by another Cervantes “real” character: Maese Pedro, a
famous Italian puppeteer.
« Este es un famoso titerero, que ha muchos días que anda por esta Mancha de
Aragón enseñando un retablo de la libertad de Melisendra, dada por el famoso
don Gaiferos, que es una de las mejores y más bien representadas historias que
de muchos años a esta parte en este reino se han visto. (...) habla más que seis y
bebe más que doce, todo a costa de su lengua y de su mono y de su retablo.»
(Don Quijote, 2a parte, cap. 25)
The fusion of reality and fiction
In chapters 25 and 26 of Don Quixote second part, Cervantes stages the misadventures of
the puppeteer Maese Pedro. He’s with his seer monkey and some colleagues and, during
the show, Don Quixote takes the puppets as a real characters and attacks the puppeteer,
destroying the set and the puppets.
Usually, the adaptations of the Cervantes’ work forget the second part of the Don Quixote.
However, this second part, published 10 years after the first, in 1615, one year before he
died, is considered the first modern novel of the Literature History.
The main questions that Philippe Soldevila proposes are: why is the first modern novel and
why, nowadays, remains modern, after 400 years of Cervantes death?
The first part of the answer is not due to the buffoonery of Don Quixote, we believe it is
due the unique space where his adventures starts: a space where the most fascinating
human face is revealed, in the border between the true and the false, the thin line that splits
reality and fiction. In this area is where art, idealism and madness mix together. In this
ambiguous space, it is where the humans are capable to change the world and the reality.
So, why do we not change our relationship with the world by ourselves?
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Les véritables aventures de Don Quichotte de la Mancha
Taking these premises as a starting point for our own story, this play will start with the
second part of Don Quixote. At the beginning of this part, the priest and the barber are
visiting their friend Alonso Quijada, to verify if he’s still a mentally-ill person and still
thinks that he’s an errant knight.
Don Carrasco reveals to Don Alonso (alias Don Quixote) that it has been published a
novel about his adventures. So, Don Quixote became a great novel character: here reality
incarnated into acclaimed fiction.
Thus, the audience will see in parallel: 1. Don Quixote and his squire Sancho evolving in
front of them, in the second part of the novel. 2. The theatrical performance, with puppets,
from the first part of the novel, by Maese Pedro to his audience. Reality and fiction will
mix again.
Gradually, the two stories - the "real story" (Volume 2) and the story narrated through the
puppet show of Maese Pedro (Volume 1) - will become into one story. This fusion of past
and present, of the "true" and fiction, will occur at the precise moment when the character
of Don Quixote, will attend to a puppet show, where Maese Pedro is telling his own story:
"the adventures of Don Quixote".
In the middle of the disturbing show, where Don Quixote is taking the puppets as real
characters, he unsheathed his sword and destroys the set. Afterwards, embarrassed, take
one of the puppets and restarts his adventures again, but in a weird way, with a constant
philosophical and psychological dialogue.
We built our creation in this constant border that separates fiction and reality where
Cervantes, actually, built his novel.
Visual conception
We will use multimedia resources to establish the visual aesthetic: the different languages
that the characters will use during the play (French, Catalan, Spanish and Quebecoise) will
be the focus of the co-production. The writing and the words will be projected being the
stage conception where subtitles will be integrated.
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CREATION TEAM
Artistic details
Text and original idea Philippe Soldevila, based on Cervantes work.
Director Philippe Soldevila
Director assistant Léa Touzé
Scenography and lights Christian Fontaine
Puppets Pierre Robitaille
Costume Érica Schmitz
Music François Leclerc
Artistic direction Philippe Soldevila, Pierre Robitaille, Victor Alvaro
Companies
Théâtre Sortie de Secours (Québec)
Pupulus Mordicus (Québec)
Gataro (Barcelona)
Cast
Victor Alvaro
Savina Figueras
Pierre Robitaille
Nicola-Frank Vachon
Production director Marc-Antoine Malo
Gataro Production Savina Figueras
The team will be mainly from Quebec: Philippe Soldevila will assume the writing text
(with the dramaturgical collaboration of Victor Alvaro) and the staging. Christian Fontaine,
a member of Sortie de Secours, will take care of lights and scenography.
Pierre Robitaille, the Pupulus Mordicus artistic director, will lead the scenic aspects related
with puppets. After their collaboration in Faust, pantin du diable, it will be the first time
that Soldevila, Robitaille and Fontaine will work together.
Erica Schmitz, loyal collaborator of Sortie de Secours, will handle costume design.
Original music will be performed, in live, by the musician François Leclerc.
Finally, Nicola Frank Vachon and Pierre Robitaille of Pupulus, will be the Quebecois
actors. Victor Alvaro and Savina Figueras, co-directors of Gataro, will complete the cast
by the Catalan side.
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COMPANIES PRESENTATION
SORTIE DE SECOURS
(Quebecois co-producer)
Since its founding in 1989, the theatrical act constitutes for Sortie de Secours the way to
explore the complexity of the identity issues and experience the diversity and the
combination of voices. The company works are based in their original creating plays, often
with the complicity of foreign artists, looking always for the convergence.
In this sense, Sortie de Secours is also dedicated to perform, in parallel, creations inspired
by art, literature, myths and foreign rites; always with the aim of generating a critical view
about our own individual and collective behaviors, either for creators and spectators.
Their goals are:
§ Start and develop artistic projects through external collaborations, in order to
enrich the experience of cultures and foreign artists to open new horizons.
§ Approach to the human and universal theatre paying attention to the cultural
conflicts and emigration, attending to, what we call, the “identity fabric”.
§ Give priority to the original works inspired by art, literature, myths and foreign
rituals in order to cause a mirror effect.
§ Develop a portfolio of translations and adaptations of original Hispanic works.
§ Provide, through the tours, considerable prestige and diffusion to the company
productions.
Sortie de Secours develop their creations by stages through specific meetings between
creators and the audience (laboratories and readings). Their creation rhythm is about a new
show per year; in parallel, the dissemination of the preceding productions.
La mer...
Québec-Barcelona
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PUPULUS MORDICUS
(Quebecois co-producer)
Influenced by American and European traditions, including the "anarchist" theatre,
Pupulus Mordicus is a puppet theater company for adults, and their artistic mission is
based in three pillars: creation, research and exploration.
Since the Pupulus Mordicus foundation, in 1996, the company pays special attention to
research and documentation, pillars of their emblem, and original theatrical language. The
art of puppetry is a plural and multifaceted practice, and for the company is an essential
matter to explore their multiples facets.
Pupulus keeps working for increase their horizons, specifically, through their following
artistic goals:
- Promote the puppetry as a way of theatrical expression
- Create and disseminate their own dramaturgical repertoire
- Develop a research laboratory of puppetry art
- Explore new ways of the puppetry artistic possibilities
After 20 years, their uniqueness persists and the puppeteer figure and the Pupulus
Mordicus are not marginal anymore. The company has changed the puppetry panorama in
Quebec because of their distinctive practice and their constant presence in the institutional
theatres.
Méphisto-Méliès
Jacques et son maître
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GATARO
(Spanish co-producer)
Gataro is an artistic project running for 17 years in Barcelona, where the research through
our curiosity have bring us for tasting different scenic disciplines, all of them combined in
our shows.
On 1998, it has emerged a way of working which was come from other small shows like
“Los sueños de mi prima Aurelia” from Federico García Lorca, from his Teatro
Incompleto.
During those 17 years, we have played 26 different plays, 3 lectures and 7 editions of
Festival Barcino.
Our spirit of theatric research brings us to work on diversity, with text plays, gesture plays,
mask plays, musical, Spanish plays, international plays or our own plays. Actually, our
shows are the result of what we strengthen between the combination of the text, the music,
the body language and the plasticity.
Flor de nit –el cabaret-
UBÚadella
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CURRICULUMS OF THE MAIN ARTISTS
PHILIPPE SOLDEVILA - (author and director)
Philippe Soldevila, director and author, assumes the artistic direction of
Théâtre Sortie de Secours since its foundation in 1989. His career has been
guided for his fascination on the identity issues and the confluence of
cultures.
As a Sortie de Secours director, he has directed: Le long voyage de PierreGuy B., Québec-Barcelona, Les trois exils de Christian E., À la défense des moustiques albinos,
Le Magicien Prodigieux, Santiago, Chroniques de la Vérité Occulte, Le Temple, Exils, and Le
Miel est plus doux que le sang.
Aside from Sortie de Secours, he also has directed over thirty productions: Ravel's opera L'Enfant
et les Sortilèges (Opéra de Québec), Des Fraises in Janvier (Théâtre d'Aujourd'hui / Compagnie
Jean Duceppe), Strawberries in January (Centaur Theater / Théâtre d'Aujourd'hui), Doldrum Bay
Hillary Fanin (Théâtre de la Manufacture, à La Licorne), Quatuor of Ronald Harwood at Rideau
Vert Théâtre, Faust, Pantin du Diable (Pupulus Mordicus) and Les Parents Terribles
(coproduction of Théâtre du Trident and Centre National des Arts in Ottawa).
In the children's theater, Philippe Soldevila has often been associated with Théâtre des Confettis.
He has written and directed his own shows Conte de la Lune and Conte de la Neige.
Miel est plus Doux que le Sang (1996) and Temple (2002) have received the Best Staging Award
in Quebec. Finally, in May 1998, he received the Award from the Conseil John Hirsch des Arts du
Canada « en reconnaissance de son œuvre de metteur en scène et d’un travail qui annonce des
réalisations majeures sur le plan de l’excellence et de l’originalité ».
PIERRE ROBITAILLE - (Puppet designer and actor)
His passion for the puppet, after 30 years, is still vigorous. He’s a
puppet manufacturer, and has worked in the circus, television and stage
with Pupulus Mordicus, the company, which is co-director, Pupulus
Mordicus, but also in Ubus, puppet street theatre, created by Agnès
Zacharie.
Robitaille’s work has been recognized for Jacques et son maître, L’Oiseau vert et L’Opéra de
Quat’sous, played in Trident Theatre the last years. As well, he has played Cabaret Gainsbourg in
2010-2011, in Périscope Theatre and the Carrefour international de théâtre de Québec. Lately, he
has directed the play Mephisto-Hélène of Méliès Ducharme, in collaboration with the author. Also
he has designed the puppets of this coproduction of Pupulus Mordicus and Motus.
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VICTOR ALVARO - (Actor and dramaturgy assistant)
Diplomated in Dramatic Art by Institut del Teatre of Barcelona.
Since 1998, he has been playwright, actor and director of more
than 35 productions. Since 2004, he’s a founder member and
artistic director of the Gataro Company. Since 2007, he runs the
Barcino Festival. Since 2008, he’s the director of the Almeria
Teatre of Barcelona and FRINGE Barcelona Festival (2012 to
2104).
Some of his work as an actor is: UBÚadella, dramaturgy and directed by Victor Alvaro; Ella i els
arquitectes, of Gerard Vazquez, directed by Damia Barbany; Copi i Ocaña al Purgatori, written
and directed by Marc Rosich; El càntir trencat of Heinrich von Kleist, directed by Victor Alvaro;
Quebec-Barcelona of Mercè Sarrias, directed by Philippe Soldevila; Jugant amb Molière of Juan
Antonio Castro, directed by Esteve Polls; La divina Filotea of Calderon de la Barca, directed by
Pedro Maria Sanchez; K.L.Reich of Joaquim Amat Piniella, directed by Frederic Roda; Odola,
opera of Albert Mestres and Jordi Rossinyol; Winter Tale of William Shakespeare, directed by
Ferran Madico; Valentina of Carles Soldevila, directed by Toni Casares; Arriba una cançó of
Oriol Broggi and Jaume Sisa, directed by Oriol Broggi; El diable compartit, of Fabrice Melquiot,
directed by Roberto Romei; Copi i Ocaña al Purgatori, of Marc Rosich, directed by Julio
Alvarez; L’aparador of Victòria Szpunberg, directed by Toni Casares; DO'M of Enric Casases,
directed by Albert Mestres; Això a un fill no se li fa of Josep Maria Benet i Jornet, directed by
Tamzin Townsend; Àfrica 30 of Mercè Sàrrias, directed by Toni Casares.
SAVINA FIGUERAS - (actress)
Savina Figueras is an actress and producer. Since 2004, she’s a
founder member and the production director of the Gataro
Company. Since 2007, she runs the Barcino Festival. Since 2008,
she’s the manager of the Almeria Teatre of Barcelona and
FRINGE Barcelona Festival (2012 to 2104).
In theatre, she has worked, as an actress, in Cinc noies i un vestit
of Alan Ball; El casament dels petitburgesos of Bertolt Brecht; ¡Ay, Carmela! of José Sanchis
Sinisterra; El càntir trencat of Heinrich von Kleist; 1984 of George Orwell; UBÚadella of Victor
Alvaro. All those plays have been directed by Victor Alvaro, the premieres in Almeria Teatre of
Barcelona and produced by Gataro; Arriba una cançó and Per què te'n vas? of Oriol Broggi and
Jaume Sisa, directed by Oriol Broggi; Romeo and Ofèlia, written and directed by Victor Alvaro;
Acadèmia de Patafísica-Teatre Tantarantana; A la cuina amb l'Elvis of Lee Hall, directed by
Roger Peña Carulla, Teatreneu company; La Mort d’August of Romain Weingarten, directed by
Victor Alvaro; Los sueños de mi prima Aurelia of Federico García Lorca, directed by Victor
Alvaro. La Càmara Teatre-Rubí. El Celler, Rubí 1998: Best staging Award in IV Mostra de
Teatre Breu de Barcelona, 1999; La Tempestad of William Shakespeare, directed by Calixto
Bieito. FOCUS-GREC’97. Award UNNIM of Theatre 2012: best main actress for ¡Ay,
Carmela!
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NICOLA-FRANK VACHON - (actor)
Nicola Frank Vachon finished his studies at Conservatoire d'Art
Dramatique de Québec in 2004. Since then, he has performed in more than
twenty plays, most of them in Quebec: Le monde sera meilleur d'Édith
Patenaude (Périscope 2015), Faire l'amour of Anne-Marie Olivier
(Périscope et Espace Libre, 2014), and Détour de Chant of Geneviève
Tremblay (Premier Acte 2014). He has also participated in the creation of:
Quand le sage pointe la lune, le fou regarde le doigt (Premier Acte, 2005,
Périscope, 2007) and Kukipik Doikipu (Premier Acte, 2011). On TV, he has played the main
character of Marco Biron in Unité 9 (Aetios, 2014, 2015, 2016). In cinema, he has played the main
character on the film Ésimésac, by Luc Picard and written by Fred Pellerin (Cité Amérique, 2012).
Since 2005, he works also as a photographer.
CHRISTIAN FONTAINE - (Set and light designer)
Christian Fontaine finished his studies in staging in the Conservatoire
d'art Dramatique in Québec, in 1987. He has collaborated in the first
works of Théâtre Sortie de Secours, has also worked with several
companies as a set and light designer: Théâtre du Trident, le Théâtre de la
Bordée, le Théâtre Niveau Parking, le Théâtre du sous-marin jaune, le
Théâtre des Confetti, etc. Lately, he has created the set and light design of
Québec-Barcelona, the set of Les Misérables (Capitole), La Reine
Margot (Théâtre de la Bordée et Denise-Pelletier), Fin de partie (Théâtre de la Bordée), Act of
God (Théâtre Niveau-Parking) and the light design of Scalpée et Faire l’amour (Bienvenue
aux dames).
He has received the Jacques-Pelletier Award for En attendant Godot (Théâtre de la Bordée).
He teaches set and light lesson in the Conservatoire d’art dramatique de Québec.
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MAIN COMPANIES PRODUCTIONS
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GATARO
UBÚdella dramatúrgia i direcció Victor Alvaro. Producció Gataro 2015.
COPI i OCAÑA al purgatori autor i director Marc Rosich. Producció Gataro 2015.
Flor de Nit – El Cabaret – versión del espectáculo musical de Manuel Vázquez
Montalbán, Dagoll Dagom y Albert Guinovart. Dirección escénica Victor Alvaro.
Dirección musical Xavier Torras. Producción Gataro 2014. Premi Butaca 2015 al mejor
espectáculo de Teatro Musical.
Carmen! Un musical a partir de la ópera de George Bizet. Dirección escénica Victor
Alvaro. Dirección Musical Xavier Torras y Victor Alvaro. Co-Producción de Gataro y
Espaiart. 2014.
1984 de George Orwell. Versión de Michael Gene Sullivan. Dirección Victor Alvaro.
Producción de Gataro. 2013.
Krapp de Samuel Beckett. Dirección Victor Alvaro. Producción de Gataro. 2013.
Barcino’13. 7è Festival Romà de Barcelona. Dirección Artística de Victor Alvaro.
Producción de Gataro y Almeria Teatre. Dentro del FESTIU – Festival de Creació a
Gràcia.
Com dir-ho? de Josep Maria Benet i Jornet. Dirección Xavier Albertí. Producción de
Gataro. 2013.
El càntir trencat de Heinrich von Kleist. Dirección Victor Alvaro. Producción de Gataro.
2012.
Producción de Gataro y Almeria Teatre.
La Sopa de Pedres de Victor Alvaro. Dirección de Victor Alvaro (a partir de la dirección
de Jordi Basora). Producción Gataro. 2012.
Invasió subtil i altres contes de Pere Calders. Dirección Victor Alvaro. Producción de
Gataro. 2012.
¡Ay, Carmela! de José Sanchis Sinisterra. Dirección Victor Alvaro. Producción de Gataro.
2011. Premi UNNIM 2012 a la mejor actriz (Savina Figueras)
Producción de Gataro y Almeria Teatre.
Res de nou (tragcomèdia estranya sobre l’horror de les guerres) de Lluís-Anton
Baulenas. Dirección Victor Alvaro. Producción de Gataro. 2011.
La Frau (die musical) de Marta Robelló. Dirección Victor Alvaro. Producción de Gataro.
2010.
El casament dels petitburgesos de Bertolt Brecht. Dirección Victor Alvaro. Producción
de Gataro. 2010.
The Vinegar Dances (Tribute to Gorey) Creación i Dirección de Victor Alvaro y Bealia
Guerra. Producción de Gataro. 2010.
Barcino’10. 4rt Festival Romà de Barcelona. Dirección Artística de Victor Alvaro.
Producción de Gataro.
Los sueños de mi prima Aurelia de Federico Garcia Lorca. Dirección Victor Alvaro.
Producción de Gataro. 2010.
The Black Rider de T. Waits, R. Wilson i W. S. Burroughs. Dirección Victor Alvaro.
Producción de Gataro. 2009. 4 nominaciones a los Premios Butaca 2010.
Barcino 2009. Festival Romà de Barcelona (L’Off Off Grec). Dirección Artística de
Victor Alvaro. Producción de Gataro.
Dust de Miquel Barcelona i Gisela Creus. Dirección Victor Alvaro. Coproducción de
NunArt y Gataro. 2009.
Cinc noies i un vestit d’Alan Ball. Dirección Victor Alvaro. Producción de Gataro. 2009.
Barcino 2008. Festival Romà de Barcelona (L’Off Off Grec). Dirección Artística de
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Barcino 2007, Festival Romà de Barcelona (L’Off Off Grec). Dirección Artística de
La Frau de Marta Robelló. Lectura escenificada dirigida por Bealia Guerra. Producción
de Gataro. 2007.
Sonríe Willy! de Victor Alvaro. Dirección de Victor Alvaro. Producción de Gataro. Con
la colaboración del INAEM y el Ayuntamiento de Rubí. 2007.
Piram i Tisbe, desastre líric per a 4 veus, piano, violí i theremin. Ópera de pequeño
formato. Dirección i Dramaturgia de Victor Alvaro. Coproducción Gataro y Festival
Shakespeare Santa Susanna. 2006.
L’única Mort de Marta Cincinnati d’Alexandre Ballester. Lectura escenificada dirigida
por Victor Alvaro. Coproducción Sales Alternatives y Gataro. 2006.
Suite Bufa de Joan Brossa y Josep M. Mestres Quadreny. Dirección de Victor Alvaro.
Producción de Gataro, con la colaboración del ICIC, INAEM y del Ayuntamiento de Rubí.
2004.
La Sopa de Pedres de Victor Alvaro. Dirección de Jordi Basora. Producción Acadèmia de
Patafísica. Con la colaboración del INAEM y del Ayuntamiento de Rubí. 2003.
Romeo i Ofèlia de Victor Alvaro. Dirección de Victor Alvaro. Coproducción Acadèmia
de Patafísica y Teatre Tantarantana. Teatre Tantarantana, 2002.
RRRPRRR! de Joan Brossa. Codirección de Victor Alvaro y Jordi Basora. Producción
Acadèmia de Patafísica. 2001.
L’últim cohet de Joan Brossa. Codirección de Victor Alvaro y Jordi Basora. Producción
Acadèmia de Patafísica. 2001.
Res de nou de Lluís-Anton Baulenas. Lectura escenificada dirigida por Victor Alvaro, a
cargo de XTV. 2000.
La mort d’August de Romain Weingarten. Dirección de Victor Alvaro. Coproducción del
Centre Dramàtic del Vallès y XTV. Teatre Alegria de Terrassa y Sala Beckett de
Barcelona, 2000.
Los sueños de mi prima Aurelia de Federico Garcia Lorca. Dirección de Victor Alvaro.
Producción de La Càmara Teatre-Rubí. 1998. Premio al mejor espectáculo de la “Mostra
de Teatre Breu” de Barcelona 1999.
¡Ay, Carmela!
15
SORTIE DE SECOURS
2014-2015
Le long voyage de Pierre-Guy B, de Philippe Soldevila, Christian Essiambre et Pierre Guy
Blanchard, mise en scène de Philippe Soldevila, en coproduction avec L’escaouette et le Théâtre
français du Centre national des arts, présenté à Moncton, Québec et Ottawa.
2013-2014
• Quand la mer reviendra, texte d’Esther Beauchemin, mise en scène de Philippe Soldevila:
création présentée en ouverture de la biennale Zones Théâtrales au CNA, au Périscope de
Québec, puis au TNO de Sudbury (total : 27 représentations). En Coproduction avec La Vieille
17 et Le Théâtre du Nouvel Ontario (automne 2013).
• Les trois exils de Christian E., texte de Philippe Soldevila et Christian Essiambre, mise en scène
de Philippe Soldevila. En tournée dans 25 villes québécoises et 3 villes du N-B. Région, pour
total de 32 représentations. Coprod. avec L’Escaouette.
• Conte de la Neige, texte et mise en scène de Philippe Soldevila. Une production du Théâtre des
Confettis, avec la collaboration de Sortie de Secours (février 2014).
• Récolte , de Joelle Préfontaine, mise en scène et accompagnement dramaturgique de Philippe
Soldevila, une production de l’Unithéâtre d’Edmonton, initié par le biais du RAFA, en
collaboration avec Sortie de Secours. (automne 2013)
• Le long voyage de Pierre-Guy B., de P. Soldevila, C. Essiambre et P-G Blanchard, laboratoire
public aux Chantiers de la création, Carrefour International de Théâtre de Québec. ( juin 2014).
Coprod : L’Escaouette et le Théâtre français du CNA.
2012-2013
Québec-Barcelona, texte de Mercè Sarrias, mise en scène de Philippe Soldevila.
Représentations au Périscope, au Festival International de Girona (Espagne) et à la Sala Beckett
de Barcelone (total de 32 représentations). En coproduction avec La Sala Beckett de Barcelone.
•
Les trois exils de Christian E., en tournée au Québec, en Ontario et en Saskatchewan, puis
présentée 3 semaines au Théâtre d’Aujourd’hui (38 représentations). Le texte y remporte le Prix
Auteur Dramatique BMO du Théâtre d’Aujourd’hui, saison 2012-2013.
•
Lancement du texte Les trois exils de Christian E chez Dramaturges Éditeurs.
•
2011-2012
•
Les trois exils de Christian E., remporte les Prix Paul Hébert et Prix de la Critique
« interprétation masculine, Québec », remis à Christian Essiambre; nomination pour
« meilleure production » (Association Québécoise des Critiques de Théâtre); trois
nominations aux Éloizes : « spectacle de l’année », « artiste de l’année » (Christian Essiambre)
et « Artiste de l’Acadie du Québec » (Philippe Soldevila). En tournée (24 représentations)
•
Teresa va obéir, de Hélène Robitaille, mise en lecture de Philippe Soldevila. Une
collaboration de Sortie de Secours à l’événement « Impressions d’ici » du Théâtre Périscope.
•
Quand la mer reviendra, d’Esther Beauchemin: lecture publique de la deuxième version
de la pièce, à Zones Théâtrales, en coproduction avec La Vieille 17, Le Théâtre du Nouvel
Ontario et du CEAD.
•
Le Projet Borges, deuxième laboratoire de création, en résidence au LANTISS.
2010-2011
•
Les trois exils de Christian E., au théâtre l’Escaouette (Moncton) et au Théâtre Périscope
(Québec). (21 représentations)
•
Québec- Barcelona, de Mercè Sarrias, mise en lecture de Philippe Soldevila. Première
étape de création avec la Sala Beckett de Barcelone, au Carrefour International de Théâtre de
Québec
•
Treize salves pour un pat, lecture publique autour de l’oeuvre narrative de Jorge Luis
Borges, dans le cadre de la première édition du festival littéraire Québec en toutes lettres.
•
Le Projet Borges, premier laboratoire de création, en résidence au LANTISS.
16
2009-2010
•
À la défense des moustiques albinos, de Mercè Sarrias, traduction et mise en scène de
Philippe Soldevila, Théâtre Périscope (Québec) et La Nouvelle Scène (Ottawa). Prix Bernard
Bonnier remis à Pascal Robitaille, et nomination pour « La production de l’année » (Prix
Rideau Awards, Ottawa-Gatineau), Mars et avril 2010.
•
Conte de la Lune, une coproduction Théâtre des Confettis et Théâtre Populaire d’Acadie,
en collaboration avec Sortie de Secours. En Espagne, Madrid, Alcala de Henares et Barcelone
(Igualada).
2008-2009
•
Lecture publique, Des poux et des acteurs, de José Sanchis Sinisterra, traduction Nélida
Michaud, m-e-s de Philippe Soldevila, Carrefour international de théâtre, juin 2009
•
Lecture publique, Conte de la neige, de Philippe Soldevila, Carrefour international de
théâtre.
•
Lancement du texte Conte de la lune, de Philippe Soldevila, par Dramaturges Éditeurs.
•
Laboratoire public autour des Trois exils de Christian E., dans le cadre des « Chantiers de
la création » au Carrefour international de Théâtre de Québec.
•
Laboratoire public de Quand la mer reviendra, d’Esther Beauchemin, m-e-s Philippe
Soldevila, coproduction Sortie de Secours et la Vieille 17, dans le cadre de « Impressions d’ici »
au Périscope.
2007-2008
•
Santiago, de Hélène Robitaille, m-e-s de Philippe Soldevila, au Théâtre d’Aujourd’hui,
janvier 2008
•
Le Magicien prodigieux, adaptation libre de Philippe Soldevila d’après Calderon de la
Barca, m-e-s de Philippe Soldevila, à Québec dès le 25 mars 2008. Prix Nicky-Roy remis à Israël
Gamache.
•
Lancement du texte Santiago, de Hélène Robitaille, chez L’Instant Même.
•
2006-2007
•
Santiago, de Hélène Robitaille, m-e-s de Philippe Soldevila, au Théâtre Périscope à
Québec. Prix de la Meilleure musique originale, prix de la Meilleure scénographie et deux
nominations d’interprétation, par le Conseil de la Culture de la Région de Québec.
•
Conte de la Lune, texte et mise en scène de P. Soldevila, inspiré de Pere Calders.
Collaboration à cette coprod. Masque « Meilleure production Jeune Public », Prix « ZOF » de
la Fédération Culturelle Canadienne Française/Secrétariat des Affaires Intergouvernementales du
Canada (SAIC), nomination pour le Masque « Coup de Cœur des Enfants Terribles ».
2005-2006
•
Bhopal, de Rahul Varma, m-e-s Philippe Soldevila. Québec (Périscope) et Montréal
(Espace Libre). 31 représentations.
•
Développement dramaturgique de Conte de la Lune, de Philippe Soldevila, inspiré de
Pere Calders.
2004-2005
•
¡Anarquista!, de Simone Chartrand, m-e-s de Philippe Soldevila (à Québec / 21
représentations).
•
Bhopal, de Rahul Varma. Deux lectures publiques : Québec (Périscope) et Montréal (La
Licorne)
2002-2003
•
Collaboration de Sortie de Secours à Ma famille, de Carlos Liscano, m-e-s de Philippe
Soldevila, production du TPA (Caraquet, Moncton et tournée au N-B / 38 représentations).
2001-2003
•
Chroniques de la vérité occulte, traduction, adaptation et m-e-s de Philippe
17
Soldevila d’après l’œuvre de Pere Calders, prix de la Meilleure musique originale par le
Conseil de la Culture de la Région de Québec (Québec, Moncton, Ottawa et Montréal / 49
représentations).
2000-2001
•
Le Temple, de Pierre-Yves Lemieux, m-e-s de Philippe Soldevila, prix de la Meilleure
mise en scène par le Conseil de la Culture de la Région de Québec
1999-2003
•
Collaboration à Pour une fois, de Herménégilde Chiasson, m-e-s de Philippe Soldevila,
coproduction du TPA et de l'Escaouette, nomination Gala des Masques édition 2001 (Moncton,
Caraquet, Ottawa, Toronto, Québec et tournée au N-B. / 55 représentations).
1998
•
Philippe Soldevila, directeur artistique, reçoit le Prix John-Hirsch du Conseil des Arts
du Canada « en reconnaissance de son œuvre de metteur en scène et d’un travail qui annonce
des réalisations majeures sur le plan de l’excellence et de l’originalité ».
•
Lancement du texte Le Miel est plus doux que le sang chez VLB
1997-2000
•
Exils, de Robert Bellefeuille et Philippe Soldevila, m-e-s de Philippe Soldevila (Limoges,
Québec, Ottawa, Longueuil, Assomption et Théâtre d’Aujourd’hui / plus de 60 représentations)
(Adaptation et réalisation film par Podz en 2003).
1995-2000
•
Le Miel est plus doux que le Sang, de Simone Chartrand et Philippe Soldevila (trois
nominations Gala des Masques : Révélation de l'année, prix du Public Loto-Québec et
Meilleure production à Québec. Prix de la Meilleure mise en scène par le Conseil de la
Culture de la Région de Québec (Québec, Moncton, Montréal, et Festival des francophonies en
Limousin / 75 représentations).
1989-91
Tauromaquia, de Simone Chartrand et Antoine Laprise, m-e-s de Philippe Soldevila (Québec,
Montréal, Ottawa / 35 représentations).
La miel est plus doux que le sang
18
PUPULUS MORDICUS
1995
Faust, pantin du diable (texte de Marie-Christine Lê-Huu, d’après Goethe)
• Diverses distinctions, dont deux nominations au Gala des Masques
1996
Fondation officielle du Théâtre Pupulus Mordicus
1998
Les Enrobantes, cabaret décolleté pour psychanalyste plongeant (texte de Marie-Christine
Lê-Huu)
• Deux nominations au Gala des Masques
1999
Autopsie d’un automate
• Collaboration avec le Théâtre Les Gros Becs
2000
Noël de M. Scrooge (adaptation de l’œuvre de Charles Dickens)
• Plusieurs reprises dans les années suivantes
2001
Au tour de la beauté
• Collaboration avec le Musée national des beaux-arts du Québec
2003
Les Survivants (composé de L’Autre, adaptation libre du roman éponyme d’Andrée
Chédid, et de Gretchen, texte original de Stephan Allard)
• Nomination et Masque de la contribution spéciale pour les marionnettes
2006
Jacques et son maître (d’après l’œuvre de Milan Kundera)
• Coproduction marquante de Pupulus Mordicus, qui souligne son 10e anniversaire, avec le
Théâtre du Trident
• Deux nominations et six prix, dont le Masque de la contribution spéciale pour les
marionnettes
2008
L’Oiseau vert de Carlo Gozzi
• Collaboration avec le Théâtre du Trident
• Prix pour la conception des costumes et trois nominations
2010
Cabaret Gainsbourg (d’après une idée originale de Martin Genest)
• Nomination aux Prix d’excellence des arts et de la culture et spectacle finaliste pour les
Prix de l’Association québécoise des critiques de théâtre
2010
L’Opéra de Quat’Sous de Bertolt Brecht
• Collaboration avec le Théâtre du Trident afin de souligner leur 40e anniversaire et nos 15
ans d’existence
• Plusieurs prix
2012
La Ville en rouge (texte de Marcelle Dubois)
• Spectacle jeunesse
• Collaboration avec le Théâtre du Gros Mécano
• Prix Jacques-Pelletier et nomination aux Prix de la critique «Jeunes publics»
2013 Les Enrobantes, cabaret décolleté pour psychanalyste plongeant (texte Marie-Christine LêHuu)
• Refonte de la pièce, 15 ans après sa création
• Collaboration avec le Théâtre du Trident
19
2014-2015 Méphisto Méliès (texte d’Hélène Ducharme)
• Coproduction avec le Théâtre Motus, en collaboration avec le festival Marionnettissimo
Méphisto Méliès
20

les véritables aventures de don quichotte de la mancha a quebecois

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