TRIESTE

MARIE BRASSARD

A whirling odyssey, from the legendary Land of the Dead to the depths of the abyss, Trieste is imbued with mythologies old and new. An enigmatic and undulating stage poem. Captivating.

Details

In Trieste, time is not linear. Marie Brassard explores poetic fortuity and extraordinary coincidences in this virtuoso odyssey. From the shores of the Adriatic to the depths of the abyss by way of the subterranean Land of the Dead, she embarks on a fabulous voyage to the heart of the unexplained. Driven by powerful gusts of the bora wind (a malefic force said to drive some to madness), this show is an encounter between ancient legends and contemporary mythologies woven around the idea of death and its mysteries. Imbued with melancholy and guided by the imagination of writers who have lived in the city, Trieste is an astonishing stage poem. Like a bathyscaphe perched at the very bottom of the ocean depths, it probes the intangible.

Once again at the FTA, which has featured every one of her solo pieces, Marie Brassard, an indefatigable discoverer of the possibilities of the stage, presents an undulating work where an enigmatic sound and visual landscape comes to life. Captivating.

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Credits

PRODUCED BY INFRAROUGE
WRITTEN, DIRECTED AND PERFORMED BY MARIE BRASSARD
MUSIC AND SOUND COMPOSED AND PERFORMED BY JONATHAN PARANT + ALEXANDRE ST-ONGE
SET DESIGN SIMON GUILBAULT
VIDEO AND 16MM FILM KARL LEMIEUX
LIGHTING DESIGN MIKKO HYNNINEN
PHOTO MINELLY KAMEMURA

COPRODUCTION FESTIVAL TRANSAMÉRIQUES + USINE C
PRESENTED IN ASSOCIATION WITH USINE C
CREATIVE RESIDENCYEXPERIMENTAL MEDIA AND PERFORMING ARTS CENTER – EMPAC (TROY)

WRITTEN BY CATHERINE CYR
TRANSLATED BY NEIL KROETSCH

PREMIERED AT FESTIVAL TRANSAMÉRIQUES, MAY 25, 2013

 

MARIE BRASSARD (MONTRÉAL)
INFRAROUGE

Making the Invisible Visible

Ever since Jimmy, créature de rêve in 2001, her first solo and a piece where she pursued a multidisciplinary approach, Marie Brassard has been probing the possibilities of theatrical vocabulary. A fluctuating amalgam of sound textures, dreamlike images, shadows, lighting and fragments of speech, that language is invented and reinvented from one piece to the next in indeterminable, captivating theatrical objects: La noirceur (FTA, 2003), Peepshow (FTA, 2006), L’invisible (FTA, 2008), Moi qui me parle à moi-même dans le futur (FTA, 2011). Wayfaring microcosms, these solos charmed audiences in Quebec and elsewhere, presented in several cities in Europe, Asia, Australia and the U.S.

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