The audience enters a destroyed location, which may have been the victim of an explosion, an act of terrorism or a natural cataclysm.
degradation. Everything is suspended, as if stopped in time, as if the moment had been frozen in time. Furniture and characters alike float in space. Everything seems surreal, incongruous and dreamlike. The characters begin to live again, and we witness what happened before we entered the place, where nothing predicted the tragedy we are witnessing. This brings us to the beginning of their evening, when a party was taking place in the apartment complex. The end, which is in fact the beginning of their story, reveals carefree, lively characters, unaware of what lies ahead. The narrative arc takes us from the anxiety-inducing tragedy at the start of the show to a state of celebration at the end, where the audience is invited to join in.
Artistic Director: Brigitte Poupart
Executive Producer: Geneviève Lussier
Composer: Alex McMahon
Choreography: Dave St-Pierre, Marie-Ève Quillicot, Axelle Muzenero
Costumes: Cédric Quenneville
Lighting: Matieu Roy
was founded in 1991 with the aim of creating theatre with political, social or philosophical elements. To fulfill its mission, the company produces exclusively contemporary works that explore the contradictions and failings of the Western world. Those faults can be collective or individual, psychological or philosophical. This philosophy is reflected in new works that situate the audience in relation to mass phenomena, and that break the formal conventions of the traditional audience-actor relationship. Hybridization is also one of Transthéâtre’s core concerns. The company’s multidisciplinary approach to production (dance, music, multimedia) gives full value to collaborations involving creative people from different cultural and artistic backgrounds.
“At the confluence of theater, circus arts, dance and electronic music, Jusqu'à ce qu'on meure invites the audience to a theatrical and ambulatory experience, as they wander through the various scenes of the show scattered throughout the space, or physically follow the protagonists. It's also a story that unfolds in reverse, meaning that the end of the show is, in fact, the beginning of the story.”
“The proposal put forward by Transthéâtre and Brigitte Poupart, who came up with the idea for this kind of show almost 20 years ago, is audacious to say the least. Gone are the captive, seated audiences: they are encouraged to move around in a 360-degree set, exploring the show's various tableaux as they please, some of which unfold simultaneously.”
“Explosive, off-center, boundlessly joyful, poetic. The latest production by Brigitte Poupart and her company, Transthéâtre, is like a citizens' demonstration. A little dazed, conscious of having taken part in a collective movement, smiling and feverish, a happiness in your heart despite the smoke, the hypnotic rhythm of the DJ and the sometimes blinding light of the spotlights. (...) The audience at Jusqu'à ce qu'on meure (Until We Die) are part of a baroque party.”
“An ingenious scenography that gave rise to some very powerful scenes...”
“Until We Die shakes up conventions and renews the traditional theatrical experience.”
“You'll leave with unforgettable memories and a unique theatrical experience.”
“A new kind of show, unprecedented in France.”
“A multi-sensory experience that ends in a nightclub.”
“Regardless of the level of participation, all spectators have access to original circus acts and choreography delivered in real proximity to the performers.”
“A festive wandering show”
“Getting up close to the artists and being able to wander around is one of the strengths of this "immersive" show.”
“Presented in its European premiere at the Lyon festival, Quebec-born Brigitte Poupart's ambitious show places the circus in an immersive setting, where luminous dreams and brutal reality coexist.”
No records found. |
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