(Quebec) “There’s a case that gets me, with which I have difficulty dealing. It is people who say, “my show”. Me, it’s never my show. This is our show, “slice Olivier Lépine. With its new project, the playwright had every reason to make an exception to his rule: he claims the copyright titles of director and sole interpreter of the part Architecture spring. And yet …
We met Olivier Lépine last week, just days before the first of Tuesday, while a real small hive was busy in the First Act of room to life in a very personal project … But our man n has never stopped seeing as a fulfillment team. The step is crucial in creating a show. And all the more tasty for Lépine, soon to be alone on stage, but never loses sight of the inclusive side of the business.
“I’m doing a lot of theater for cinema admissions, he said. It is then that I love. The performances, it’s fun, but less than that time when all the designers together for a week, morning, noon and night. Garroche is full of ideas, the excitement happens. That’s what turns me on the most in the theater, this meeting there. And that’s what I like about the staging, too: go the designer, the actor, the author … There, that’s for sure I’m doing three. I get meetings with myself! ”
The desire to wear three hats a challenge, Olivier Lépine did not deny it. And a need to endanger on stage. “It’s like a leap into the void. And Act I is the perfect place to do that, he should. This space, I took advantage. It’s been 10 years since I left school last spring. I did a lot of stuff here, I’m on the board, I love that space. I consider it essential to Quebec. To have the right to be there again, we had to issue a challenge. This desire then solo was always present. It is as to say, “that’s your business, protect it and live it fully.”
Demonstrations and Van Gogh
The Spring architecture piece is rooted in a very personal ground for Olivier Lépine: disorder (and a contrasting need for isolation) lived in the pans during the student mobilization in 2012 and a strong interest from childhood, for life and work of Vincent van Gogh. The two axes, which appear distant, intersect on the boards by the character of a Quebec documentary in heartbreak and the exploration of the correspondence of the Dutch painter.
“In my life more troubled times, I found myself writing a lot to atone for. At one point, a friend suggested I take it all and make a book or show. It has simmered: you let marinate the case, you’re not too sure … It is important that a show does not become like a kind of therapy, “says Olivier Lépine, which is surrounded by Joshua designers Beaucage, Philippe Lessard Drolet, Sara Lazzaroni, Julie Lévesque, Annabelle-Legros Pelletier, Maxime Perron and Alexandra Royer to achieve its vision.
“Obviously there’s a lot of us in every show we do, he added. But if you say to yourself “I am a single show, I write, I put on stage and I play the” must succeed to step back. That’s why I have a team of people that are super important around me. ”
From head to heart
Olivier Lépine describes what this project as a “UFO” in his professional life. “The other shows I’ve worked on, it was the shock images passing through the heart to finish in the head, he evokes. There, I start from the head and I finished in the heart. And it’s not my kind of way, usually. ”
He cited the room at about non-citizen woman rééducable / Anna P, it has staged two years ago in Act I and who was interested in the career of the Russian journalist Anna Politkovskaya, murdered in 2006 . Teacher at the École de cirque de Québec, he tells have rejoiced to hear that some of his students had done some research after seeing the room to deepen the issues.
“This show -There was used largely to that,” he confirms, adding that the intent of Architecture Spring is placed elsewhere. “There, it’s okay if people want to know a little more about the spring maple or Van Gogh, but my main desire is that it is bright, it resumes. They appear in a spring breath of life. I want people tell me they came with their girlfriend and they came out happy, hand in hand … ”