Slideshow

Slideshow The Seven Streams of the River Ota
// Tours

Credits

Credits
  • Directed by
    Robert Lepage
  • Conception
    Éric Bernier
    Gérard Bibeau
    Normand Bissonnette
    Rebecca Blankenship
    Marie Brassard
    Anne-Marie Cadieux
    Normand Daneau
    Richard Fréchette
    Marie Gignac
    Patrick Goyette
    Robert Lepage
    Macha Limonchik
    Ghislaine Vincent
  • Performed by
    Normand Bissonnette
    Martina Bovet
    Marie Eykel
    Éric Bernier
    Rebecca Blankenship
    Marie Brassard
    Anne-Marie Cadieux
    Normand Daneau
    Richard Fréchette
    Marie Gignac
    Patrick Goyette
    Caroline Lavoie
    Réjean Vallée
    Ghislaine Vincent
  • Music composed
    Michel F. Côté
  • Music performed
    Michel F. Côté
    Nicolas Letarte
  • Dramaturg
    Gérard Bibeau
  • Assistants to the director
    Bruno Bazin
    Normand Daneau
    Philippe Soldevilla
  • Assistant - traduction
    Karen Fricker
  • Set design
    Carl fillion
  • Costumes and wigs design
    Marie-Chantale Vaillancourt
    Yvan Gaudin
  • Assistés de / Assisted by
    Sylvie Courbron
  • Lighting design
    Sonoyo Nishikawa
  • Images design
    Jacques Collin and Éric Fauque
  • Images - Moving Pictures
    The McGovern Fund of the Canadian Broadcasting Corporation
  • Puppets
    Le Théâtre de Sable
  • Additional music
    Robert Caux
    Nicolas Letarte
    Jacques Offenbach
    F. Poulenc
    M. Miyagi
    G. Puccini
    A. Dvorak
  • Musical score - piano
    Claude Soucy
  • Properties
    Catherine Chagnon
    Sylvie Courbron
    Cathy Lachance
  • Model design
    Stéphane Caron
  • Set building
    Marc Châteauvert
    Mario Côté
    Carl Fillion
    Richard Gravel
    Michel Le Breton
    Gaétan Noël
    Jacquelyn Noël
    Marco Olivier
    Michel Paquet
  • Set Painting
    Véronique Dumont
    Kathleen Duval
    Cathy Lachance
    Isabelle Larivière
    Hélène Pearson
    Marco Poulin
    Pierre Robitaille
  • Stage manager
    Éric Fauque
  • Sound manager
    Luc Désilets
  • Lighting manager
    Christian Gagnon
  • Head stagehand
    Marc Provencher
  • Costumes and props managers
    Catherine Chagnon
  • Assisted by
    Cathy Lachance
  • Stagehands
    Marco Olivier
    Martin Lévesque
  • Technical director
    Richard Gravel
  • Production manager
    Louise Roussel
  • Tour manager
    Louise Roussel
    Richard Gagnon
  • Produced by
    Ex machina
  • In coproduction with
    Edinburgh International Festival
    Manchester 94 - City of Drama
    La Maison des Arts de Créteil
    Wiener Festwochen
    Theaterformen 95 Braunschweig
    Change Performing Arts - Milano
    IMBE Barcelona
    Präsidialabteilung Der Stadt Zürich - Zürcher Theater Spektakel
    Aarhus Festuge
    Bunkamura - Tokyo
    Harbourfront Center - Toronto
    Kampnagel - Hamburg
    Les Productions d'Albert
    Le Centre culturel de Drummondville
    Le Centre culturel de l'Université de Sherbrooke
    Les Productions Specta
    Staatsschauspiel Dresden - Theater der Welt 96
    København '96
    Ludwigsburger Schloßfestspiele
    Brooklyn Academy of Music
    Stockholms Stadsteater
    Carrefour international de théâtre - Québec
  • Associate producer
    Europe - Richard Castelli (Epidemic)
    United Kingdom - Michael Morris (Cultural Industry Ltd.)
    North America - Menno Plukker
  • Producer
    Michel Bernatchez
 

The Seven Streams of the River Ota

Print

The first project Robert Lepage created for his company Ex Machina, The Seven Streams of the River Ota is a saga that opens in Hiroshima during the late 20th century and divides into seven tableaux. The symbolic centrepiece of the work is the major event of the explosion of the first atomic bomb, but the work also tells the story of a Czech artist whose childhood was marked by his time in the Terezin concentration camp and who died in Hiroshima, on the banks of the River Ota. To the themes of death by atomic bomb and in concentration camps is added that of death by virus, taking the form of a person with AIDS whose only escape is assisted suicide. In spite of so much grief, the idea of survival emerges with vigour, and Hiroshima resurfaces as a symbol of renaissance rather than destruction.

 
 
 
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