Photo: Cath Langlois Photographer
“Untouched Land” has the air of not side, of refuge in the midst of the din.
A young woman comes to the microphone at the edge of the stage. He hears breathing in the semi-darkness, the time stretches ; some, perhaps, will go so far as to become impatient. It is asked in the story, one application of the words. Breathing, it, goes, quiet.
And mine nothing, the tone is set for this creation in which the young Maude Boutin of St-Pierre and Érika Hagen-Veilleux share the interpretation, the writing and the staging : the room seems to be eager to impose its own temporality.
On an island in northern Quebec, this first woman is isolated, in search of peace. His project is brutally contradicted by the arrival of another young woman, naive and talkative : city happy the great outdoors and full of his desire healing, this last will be received with coldness.
Each is found as soon at his side, in his half of the stage. You can easily navigate from one to the other, between the silences contained in the first and the rituals and anxieties they are just acknowledged the second. The cleavage is sharp and, here and there begins to sound something like a world we know well : this space noisy where everyone shouts his sensitivity and his right to be heard, where the word is so heavily corrupted that it becomes inaudible.
Some elements of the text to be collected to connect in this direction ; beyond these indications, however, it is the whole theatrical device that convinces.
Beyond the noise
Untouched Land, aka thee pis ta solitude-in-bag dehydrated is to determine, in the forms she has chosen to tell. Minimalist, the décor offers two tents schematic with a background of the scene on the horizon, some water points are mentioned. The small ingenious design bridging stage are evocative, many of the sound loops contribute to atmospheres in a simple, but sensitive, which join some circus or dancing, singing.
You can find lost, at certain times, the progression of the story or the characters ; the bet, for its part, remains nevertheless entire and extremely consistent to go through the body rather than by words. Knowing that the world continues to be done at crazy speed, outside the walls of the theatre, you will then be grateful to the creators of their resolution-tenacious trust in the gesture.
When arise a few poetic passages, circumscribed, we discover that we are also able to hear something.
Without explanations superimposed, the room happens to be pointing a certain shortness of our lives, a background noise, in and of itself, which it does not fall apart easily. This city, also, which floats in us, and whose work suggests that it may follow us into the spaces blank and silent.
Untouched Land has the air of not side, of refuge in the midst of the din. Without insisting and taking a time that is hers, the room blows this idea that again, if it is allowed to take it in a form that is intransitive, it is back to the body.
Untouched Land, aka thee pis ta solitude-in-bag dehydrated
Text, direction and interpretation : Maude Boutin of St-Pierre and Érika Hagen-Veilleux. A production Bambines, First Act until march 23.