Photo: Marie-France Coallier The Duty
Catherine Chabot has written a slice-of-life hyper-realistic, without the ellipses, which is anchored in the here-and-now.
In his third piece, Catherine Chabot assumes more and more as a writer. The actress, who had come by chance to the writing, giving shape to the collective exchanges of the celebrated a clean sweep in 2014, there has developed a lasting love of the dialog. “This is what I was revealed to the desire to hear people talk. “
There is an approach that is almost sociological in the author of In the field lover, who loves to feed testing. For Lines of flight, created the Theatre of today, she has also surveyed the six young people in their thirties, from different backgrounds, to understand where his generation was compared to political ideals. Without directly inspired his characters, their responses about feminism, sovereignty, the French language, with the Spring maple… — have allowed him to expose different points of view in a room where ” the relations become themselves political “.
His conclusion ? “From 30 years ago, there was a species of mourning, of ideals, and we move to another stage of life. “We wonder where it is made, on the plan of the career, compared to the image of others and our own expectations. “This is why it is said that the people “droitifient” get older, after the boom of the twenties. There was this same disenchantment among the actors of the student movement that I have encountered. “
Catherine Chabot is herself a bereaved of the strike of 2012, a social movement whose echoes in various works (think of the recent Colonized Annick Lefebvre) is testimony to his importance to a generation that he has allowed to politicize, to dream of a real change. And that has fallen to the height of his hopes.
This phenomenon of self-absorption, after a craze “lyrical” policy, is repeated in a cyclic manner, considers the playwright. “We pass through the historic moments, and then it is called to order. And it starts all over again. “Before the supper rich in good food and washed down with the cynicism that illustrates Lines of flight, it is believed, moreover, a little to the Decline of the american empire and the period postréférendaire.
Catherine Chabot has written a slice-of-life hyper-realistic, without the ellipses, which is anchored in the here-and-now by his references are real. “What I like about it, is to make believe to real life. Even if we know very well that it is in the theatre. But I like the thickness of the fourth wall, which means that one has the impression to attend a time of life in which one is not invited. “
The situation, a dinner between six friends, evokes a bit of a clean slate — a room in which the Talisman Theatre is preparing to present to The Chapel of an English version, Clean Slate. But on the emotional level, Lines of flight could almost be the flip side of this story of solidarity between friends. Echo of a world ” atomized, individualistic, disconnected “.
These three friends from high school and find themselves with their spouse for a thunderous evening of this kind are the relations toxic. “The characters are all prisoners of the image that others make of them, a certain version of themselves. We put a lot into boxes. I think that everyone should enter his line of flight. “The title refers to a philosophical concept by Gilles Deleuze, which means, roughly,” get out of the territory that we know to imagine other “. A course of emancipation to the unknown destination, which breaks with the established order.
The characters are all prisoners of the image that others make of them, a certain version of themselves. We put a lot into boxes. I think that everyone should enter his line of flight.
— Catherine Chabot
The room multiplies the replies were rude. The playwright, who affectionneles characters with a sense of fairness, wanted to portray the cynicism surrounding it. To start with hers. “There is earth in six degrees of irony. Myself, I do it a lot. With my friends, sometimes it is said of business terrible. But it is to protect themselves. “
Sylvain Bélanger — “a director of actors amazing, all designated to mount the show” — works to expose the humanity of the characters, including the alcohol and the fatigue come in the course of the evening erode the protective layers.
“As in my two first pieces, there is a contribution of the actors. One gives the text in question until the end. I am in the re-evaluation constant “, says the author, who plays itself in creation, in order to be at the forefront to receive comments, modify the text if necessary, and integrate it with the pearl cuff that arise in rehearsal.
The text, which painted a ” multiplicity of points of view “, dissects also our contradictions. “It is not our speech,” says the author. His character is the most progressive, ultimately, it is the good guy who does not pretend to be… ” And our political stance, whether left or right, is often linked to emotions that are not named. It is linked to our childhood, to meetings… “
For Catherine Chabot, the left seems to be an ideal that is not easily accessible to our contemporaries, very individualistic. “It is hard to be left. I think that person gets there. It is all right, finally [laughs]. Because it is all taken up with our egoistic needs. “
This “romantic disappointment” thus traces here a portrait hard, cruel. And she pinned our inconsistencies without sparing himself. “All the criticism, in the show, I do also to myself. We, There, have a report schizophrenic in the world. Two voices speak in our heads : the end of the world approach and take the opportunity, carpe diem ! What is it that we do ? “
His play reflects his concerns about the current state of the world, nourished also by the écoanxiété, this feeling of vertigo that she feels in his contemporaries in front of the alarming IPCC report on climate change. “This is not asking gestures that will change. Then, it is in a complete impasse. I don’t have a lot of hope. But it is hard, because I’d love to have kids ! “
Talk about what is painful, it is the way to survive that Catherine Chabot has learned in a family where we say things without false pretenses, where they were laughing for not to cry. All her life, she has seen the spectre of death hover over his father, suffering from a degenerative disease of the heart. “We are always out doing jokes with it. “
She has always lived with the consciousness of this severity. “I learned how to handle the disaster, I have not had the choice. What, then, is what do we do with all the info [pessimistic] ? We are trying to speak in a room to pass through… “
Lines of flight
Text : Catherine Chabot. Directed by : Sylvain Bélanger. With Lamia Benhacine, Catherine Chabot, Victoria Diamond, Benoît Drouin-Germain, Léane Labrèche-Dor and Maxime Mailloux. At the Centre of the Theatre today from 12 march to 6 April.