“Nyotaimori”, or decant the line work

Photo: Pedro Ruiz The Duty
Self-employed, playwright Sarah Berthiaume has a love-hate relationship with the work.

A working meeting the day after new Year’s day, when many are still on vacation ? It’s all very normal for two self-employed like us, who work in a world where the boundaries between work life and personal have become “completely porous,” says Sarah Berthiaume. And even if it is mine to complain about, having a job over the head, ” it is always valued socially.”


As well as freelance journalists of his generation and his environment, she believes, the playwright maintains a love-hate relationship with the work. Her profession she is passionate about and define it. But it has no zone of refuge from this professional sphere that follows it everywhere. “My work environment is my living room, my laptop. It is also my entertainment. Everything is merged. It becomes very difficult to draw the line. The alienation we face, because it takes a lot of place. “


Embodying its subject, which is subjected to the strong pressure of a date of programming the Theatre of today, she has finished writing Nyotaimori during her maternity leave, breastfeeding. The story extends what was first a short piece, designed for Zone Homa, and inspired by a plant in the Mile-Ex, this former working class neighborhood became hip. Many of the ex-plants house and now creative enterprise, the worlds cool who adhere to a utopian vision of the place of work. But what is the real freedom of the employee in an environment that requires total commitment, which “fits in all the spheres of your existence” ? The enslavement didn t it not just a face more attractive ?


Without, of course, put all the workers on the same plan, it is clear that the goal is always the same : productivity. “What are other facets of the alienation generated by our economic system. Those who sell items such as those that make it are part of a larger system where they are never free, at the bottom. We extract from them what we need. The workers on the chain at the factory become machines because they have a single function. “Elsewhere, it is the spirits who are colonized, employees illusionnant on their freedom so that they serve” the interests of a big box “.


Dream to be a table


At the time she wrote the first version of Nyotaimori (practice of japanese origin consisting of to eat sushi on the body of a naked woman), the work was filled with both his life and Sarah Berthiaume came to feed a “fantasy indecent of preference” : barter its piges writing against a job, mind-numbing, but where we ” punch “.


The protagonist of her text is an editor overwhelmed (Christine Beaulieu) that goes, so surreal, to come in contact with the foreign workers who manufacture its consumer goods. And in this encounter between worlds that do not intersect generally not, each want the lot (undesirable) on the other. “It is as if, ultimately, all change of place, and were strangely more comfortable on the seat of the other. Like a game of musical chairs in the system of [economic]. “


Inspired by practices strange but real as well, a worker who caresses a car in order to detect the imperfections, the piece wife a few steps (production, promotion, use) that pass through the man-made objects.


And the use of two actors (Macha Limonchik and Philippe Racine) to play multiple roles allows the author to trace the echoes between the characters. “The piece is made as a spinning wheel. To have actors who change place increases the feeling that, in our globalized world, it is all part of the same whole. “


For the first time, the author of Yukonstyle — a room that she is in the process of rewriting for the filmmaker Anaïs Barbeau-Lavalette, learning how to transform images of his tendency to tell everything in the dialogues — a sign of staged. In collaboration with his great friend Sebastian David. This is a practice that the actor and playwright has the desire to add to his arsenal.


It considers sometimes difficult to let go of his parts during their creation. “It is a special position, being just a writer. Often, we know how we want our piece to be played, but we did not have the legitimacy to say it. “Or we don’t know at what point in the process to intervene. On Nyotaimori, Sarah Berthiaume has the impression to continue his work of writing in the rehearsal room.


Like Antioch, which was created last fall, his new play discusses a social theme in a form which progresses from the realistic to the imaginary. “More and more, I assume this fibre of magical realism, says the author. I like to try to spin the story so that it grows in areas where the truth can’t lead us. And stimulate reflection. “Nyotaimori ends on an image disturbing, ambiguous. A gray area that pleases him. “I don’t want to create pieces that are just to tickle our fiber empathic. “


Text by Sarah Berthiaume. Directed by Sarah Berthiaume and Sébastien David. From 16 January to 3 February in the Centre of the Theatre of today