A piece that freely mixes genres as it ventures boldly down the slippery slopes of intimacy and the dark side of fragility. Poignant and disturbing.
It’s best not to rely on appearances. Still waters sometimes mask the most devastating of volcanoes, as the shady world of Mygale reminds us as it slowly but surely keeps us on edge. Although the four misfits of this underworld try hard to become close, they are addicted to violence. Their attempts to gently reach out to the other are in vain. Even the silence crackles with the mental stress they radiate as their hardened, tormented hearts spin madly in a rut. Their laughter is nervous, their actions unpredictable. “Blood will come raining down,” notes one of them. From one scene to the next, the suspense is compelling.
A young artist who freely mixes genres, Nicolas Cantin has ventured boldly down the slippery slopes of intimacy. By stretching out time and relying on the extremely intense presence of his performers, he brings to light the dark side of fragility.
PRODUCED AND CREATED BYNICOLAS CANTIN
PERFORMED BY GABRIELLE CÔTÉ + PETER JAMES + JULIEN THIBEAULT + ASHLEA WATKIN
LIGHTING DESIGN ALEXANDRE PILON-GUAY
COPRODUCTION FESTIVAL TRANSAMÉRIQUES
CREATIVE RESIDENCIESTHÉÂTRE LA CHAPELLE + COMPAGNIE MARIE CHOUINARD + USINE C
CODIFFUSION THÉÂTRE LA CHAPELLE
WRITTEN BY FABIENNE CABADO
TRANSLATED BY NEIL KROETSCH
WORLD PREMIÈRE AT FTA
NICOLAS CANTIN (MONTRÉAL)
Always on the Margins
After not quite completing his studies at the Conservatoire de théâtre in Avignon, followed by a sojourn in Paris, Nicolas Cantin found his true calling in masks and clowning. Stimulated by working with masters such as Mario Gonzales he developed his own dramatic style, characterized by a strong, sensitive presence, the dramatic force of minimalist gesture, a keen sense of the tension between comedy and tragedy, and a taste for breaking established codes without being too casual about it.
He made his dance reputation in 2005 with Jachère, a solo by Christiane Bourget that received the Paula Citron Award in Toronto. He then settled in Montréal, where he performed as a horse in the conceptual piece Glass House, and also in the solo Falaise. He later danced for Frédérick Gravel in Tout se pète la gueule, chérie (FTA, 2010), and mounted Honolulu Punch for students at Montreal’s École nationale de cirque. He teaches there, and also at the National Theatre School. A recent piece, Grand singe, is a brilliant study of an encounter between a man and a woman. In 2011 he co-created Patinoire, presented by the circus troupe Les 7 doigts de la main. His duo Belle Manière is confirmation of his mastery of time and his talent for creating powerful works, for which he also composes the soundscapes.