La chambre des enfants

The sophisticated atmospheres of the collective’s work are the result of an ongoing dialogue with lighting designer Nancy Bussières. 

Their collective writing for the stage, which intertwines sound, play, light, and music from the outset, results in experimental theatre unlike anything else in Quebec and Canada.Their collaboration has produced works underpinned by powerful sound design, including installations such as Le son de l’ère est froid, a sensory recreation of a fishing cabin, La nébuleuse, an intimate theatrical journey created via a headset, and most recently, Solarium, an orchestra made up of greenery. From the start, the trio has been interested in working with non-actors and has explored the different stages of life by teaming up with a wide range of performers. This approach began with Impatience (2013), a play about adolescence performed on stage by teenagers; it was notably presented at Usine C, Mons in Belgium, and at the National Arts Centre’s French Theatre in Ottawa. In Nous voilà rendus (2017), the company brought elderly people on stage, some of them residents of long-term care facilities (CHSLDs), in which this theatrical project was rooted. By featuring child performers in White Out and La chambre des enfants, L’eau du bain is continuing its quest to bring art closer to life.

Founded in 2008, L’eau du bain develops scenic concepts for presenting its installations and theatrical works aimed at adults or children.

Their collective writing for the stage, which intertwines sound, play, light, and music from the outset, results in experimental theatre unlike anything else in Quebec and Canada.Their collaboration has produced works underpinned by powerful sound design, including installations such as Le son de l’ère est froid, a sensory recreation of a fishing cabin, La nébuleuse, an intimate theatrical journey created via a headset, and most recently, Solarium, an orchestra made up of greenery. From the start, the trio has been interested in working with non-actors and has explored the different stages of life by teaming up with a wide range of performers. This approach began with Impatience (2013), a play about adolescence performed on stage by teenagers; it was notably presented at Usine C, Mons in Belgium, and at the National Arts Centre’s French Theatre in Ottawa. In Nous voilà rendus (2017), the company brought elderly people on stage, some of them residents of long-term care facilities (CHSLDs), in which this theatrical project was rooted. By featuring child performers in White Out and La chambre des enfants, L’eau du bain is continuing its quest to bring art closer to life.

From the beginning, sound design has played a major role in the collective’s projects. 

Their collective writing for the stage, which intertwines sound, play, light, and music from the outset, results in experimental theatre unlike anything else in Quebec and Canada.Their collaboration has produced works underpinned by powerful sound design, including installations such as Le son de l’ère est froid, a sensory recreation of a fishing cabin, La nébuleuse, an intimate theatrical journey created via a headset, and most recently, Solarium, an orchestra made up of greenery. From the start, the trio has been interested in working with non-actors and has explored the different stages of life by teaming up with a wide range of performers. This approach began with Impatience (2013), a play about adolescence performed on stage by teenagers; it was notably presented at Usine C, Mons in Belgium, and at the National Arts Centre’s French Theatre in Ottawa. In Nous voilà rendus (2017), the company brought elderly people on stage, some of them residents of long-term care facilities (CHSLDs), in which this theatrical project was rooted. By featuring child performers in White Out and La chambre des enfants, L’eau du bain is continuing its quest to bring art closer to life.