THEATRE
Slideshow
Video Clip
(English)
Credits
- Written, directed and performed by
Robert Lepage - Script Collaborators
Peder Bjurman, Marie Gignac - Assistant Director
Félix Dagenais - Associate Set Designer
Jean Le Bourdais - Associate Lighting Designer
Nicolas Marois - Sound Designer
Jean-Sébastien Côté - Costume Designer
Catherine Higgins - Properties
Marie-France Larivière - Puppeteer
Normand Poirier - Images produced by
Jacques Collin, Véronique Couturier, David Leclerc - Wig Master
Richard Hansen - Robert Lepage's agent
Lynda Beaulieu - Production Manager
Louise Roussel - Production Assistant
Marie-Pierre Gagné - Tour Manager
Isabelle Lapointe - Technical Director
Serge Côté - Technical Director (touring)
Eric Gautron - Stage Manager
Nathalie Godbout - Lighting Manager
Félix Bernier Guimond - Sound Manager
Caroline Turcot - Video Manager
Nicolas Dostie - Wardrobe and Prop Manager
Isabel Poulin - Head Stagehand
Simon Cloutier - Technical Consultant
Tobie Horswill - Collaboration to the improvisational and creative process
Normand Poirier - Make-up
Nathalie Gagné - Assistant to the Costume Designer
Jennifer Tremblay - Costumes Cutter
Nicole Fortin - Seamstress
Hélène Ruel - Musics
Una Furtiva Lagrima by Gaetano Donizetti, performed by Vincenzo La Scola, used by arrangement with Naxos of America - Sonate pour violon et piano #1 en Fa majeur by Edvard Grieg, performed by Olivier Charlier and Brigitte Engerer, used by arrangement with Harmonia Mundi
- Sweet Surrender (DJ Tiësto Remix) by Sarah McLachlan, used by arrangement with Tyde Music & Nettwerk Productions
- Pas de deux (from the ballet Le Papillon) by Jacques Offenbach, performed by John Georgiadis, used by arrangement with Universal Music Canada for Decca London
- Set building
Les Conceptions visuelles Jean-Marc Cyr - Horse's cart Maker
Martin Beausoleil - Sculpture Maker ("Femme piquée par un serpent")
Patrick Binette - Lighting Designer's Trainee (creation)
Jennifer Jimenez
(Theatre Ontario's Professional Theatre Training Program) - Audioguide voice
Ulla Henningsen - Production
Ex Machina - Coproduction
Bite:06, Barbican, London
Bonlieu Scène Nationale, Annecy
Festival de Otoño de la Comunidad de Madrid
Célestins, Théâtre de Lyon
Change Performing Arts, Milan
La Comète (scène nationale de Châlons-en-Champagne)
La Coursive, La Rochelle
Le Festival d'automne à Paris
Le Grand Théâtre de Québec
Le Théâtre du Nouveau Monde, Montréal
Le Théâtre du Trident, Québec
Le Théâtre français du Centre national des Arts d'Ottawa
Le Théâtre National de Bordeaux Aquitaine
Le Théâtre National de Toulouse Midi-Pyrénées
Maison des Arts, Créteil
MC2 : Maison de la Culture de Grenoble
Pilar de Yzaguirre - Ysarca Art Promotions, Madrid
Setagaya Public Theatre, Tokyo
spielzeiteuropa I Berliner Festspiele
The Hans Christian Andersen 2005 Foundation
The Sydney Festival - Associate Producer, Europe, Japan
Richard Castelli - Associate Producer, United Kingdom
Michael Morris - Associate Producer, The Americas, Asia (except Japan), Australia, NZ
Menno Plukker - Producer for Ex Machina
Michel Bernatchez - Acknowledgements: Le-Maillon, Théâtre de Strasbourg; Odense City Museums
- Ex Machina is funded by the Canada Council for the Arts, The Canadian Department of Foreign Affairs and International Trade, Quebec's Arts and Literature Council, Quebec's Ministry of Culture and Communication and the City of Quebec.
The Andersen Project
A Modern Fairy-Tale
Having come to Paris at the behest of the Opéra Garnier, which has commissioned him to write the libretto for a children’s opera based on a fairy-tale by Hans Christian Andersen, a Québécois songwriter settles down in a friend’s apartment, rue Saint-Denis. During his stay, he necessarily meets people: one of the Opéra’s senior managers (a man with some odd and unusual likings), a young janitor and graffiti artist of North African descent, as well as a dog who could well be guiding the tale along its way.
Freely inspired from two stories by Andersen (The Dryad and The Shadow) and from anecdotes drawn from the famed Danish author’s Parisian travels, the Andersen project calls on some of Lepage’s recurring themes: the confrontation of romanticism and modernism, of recognized and underground art forms, between past and present. However, in this new solo work, he also explores more troubling territories: questions about sexual identity, unfulfilled fantasies and a thirst for recognition and fame that are drawn from Andersen’s life and writings, only to serve as a filigree to the modern tale.
Once again, Lepage tells the story of a Québécois whose travels abroad and meetings with Others allow him to find out what defines, motivates and inspires him.
