November 23 to December 5, 2020, 2020
La Chapelle Theatre. 3700 St Dominique St, Montreal, QC H2X 2X7 [map] Box Office: (514) 843-7738
Text : Hoda Adra and Kalale Dalton-Lutale;
Translation dramaturg : Josianne Dulong-Savignac;
Co-Directors : Sophie Gee and Anne-Flore de Rochambeau;
Translation : Mishka Lavigne.
To be determined.
Set Design : Lyne Paquette;
Costume Design : Fruzsina Lanyi;
Lighting Design : Cédric Delorme-Bouchard;
Sound Design : Peter Cerone;
Stage Manager : TBD;
Assistant Director : TBD.
Talisman’s first commissioning of a play. Talisman Theatre has engaged two young, women authors—Kalale Dalton-Lutale and Hoda Adra—to collaborate on writing a bilingual, intercultural play set in Montreal. Talisman is excited to bring these two creative forces together: Kalale’s lyricism, her magic-realist, tragi-comic perspective, with Hoda’s acute Franco-Arab observations on Quebec culture and her slam-poetic energy.
The play will be co-directed by Sophie Gee, a Chinese Canadian director, and Anne-Flore de Rochambeau, a Montreal-born international dancer and choreographer.
Questions that the play addresses are: How does a dominant culture demonstrate rigidity and prejudice toward its cultural minorities, and by contrast, how can it reflect warmth and openness? How can we, as a community, work to embrace and understand the Other and break down the segregating walls between us? We feel that these questions are of heightened importance in this post-Bill 21 society.
The play is loosely inspired by Kaie Kellough's ground-breaking, magic-realist novel, Accordéon (2016), also set in Montreal, which depicts the co-evolution of a city and its cultural minorities.
Profound, poetic, and deliciously quirky--Me and You 2 is a living x-ray of Montreal that lays bare its foundations, ancient and modern. But can the invisible be made visible? A meta-experiment on the collectivity with contrasting feminist visions. Montreal is seen through the eyes of: a blocked writer fighting procrastination with coffee, cigarettes as her talkative neighbor gets in the way; Habibi's Angels scheming while holding a tea ritual; and the ministrations of a playful water spirit. Does integration mean old-world hospitality or new-world isolationism while everyone is plying their lives on First Nations territories? Difference is contrasted with indifference, and criticism takes on a meta-level as the writers challenge the hazy image of the producer's motivation. All of this in a city that can't even align its streets with the four points of a compass! Audience be warned: you're invited to a scratchy celebration of Montreal.
Hoda Adra writes, draws, and makes experimental videos. She would have liked to be a carrier pigeon, but circumstances were such that words were what carried her away. Born in Lebanon, raised in Saudi Arabia and adopted by Montreal, this triangle inspires her first spoken word album La liberté des sens, a rhythmical account of an Arab female body crossing worlds way too fast. Hoda is a proud alumna of the Banff Centre's Spoken Word Program, and her writing has been supported by the Canada Council for the Arts and the Quebec Council. In 2017 she represented Montreal at the Quebec Grand Slam finals, bringing the silver medal home. Other notable appearances include the Place-des-Arts as well as the Canadian Festival of Spoken Word. When she is not writing, Hoda can be found spilling paint.
Kalale is a writer and performer from Toronto. She has performed in Pervers/Cite, Montreal MonoChrome, Playwrights Workshop Montreals' Young Creators Unit Showcase, The Revolution They Wrote Theatre Festival, and KillJoy's Kastle: A Lesbian Feminist Haunted House in Toronto and Los Angeles. Recently her play Pinky Swear (Geordie Productions) was nominated for two Montreal English Theatre awards; Outstanding New Text, and Outstanding Emerging Artist. Pinky Swear (Geordie Productions) was also nominated for a Tom Hendry award in the inaugural Theatre for Young Audiences category. Currently Kalale is studying playwriting at The National Theatre School of Canada where she is developing a number of new works.
Josianne has a degree in Theater Studies from the UQAM Theater School. She is interested in current interdisciplinary practices as well as relational aesthetics. As part of her research-creation at UQAM's Master of Arts, Josianne designed Pour avoir une image claire de l’homme (To Have a Clear Image of the Man), a participatory exhibition questioning the collective memory related to the Canadian neo-colonial context, the visitor's participation and their willingness to look at fading faces from archival footage from residential schools. Josianne also works as a stage manager and playwright for several creators. She is also artistic assistant at Les Deux Mondes and cultural mediator at La Serre | Arts vivants. Multifaceted, she was also a member of the editorial board of the art magazines: aparté | arts vivants and Artichaut.
Mishka Lavigne is a playwright and literary translator based in Ottawa/Gatineau. Mishka translates theatre, poetry and prose. Her translation work for theatre has been seen in Ottawa, Montreal, and France. She recently translated Lorena Gale's Angélique for Black Theatre Workshop, and Héritage, her translation of Lorraine Hansberry's A Raisin in the Sun opened the 2019-2020 season at Duceppe in Montreal. Her translations of poetry were published in Ontario and Québec, included the recently published Cette blessure est un territoire, a French translation of Billy-Ray Belcourt’s Griffin Poetry Prize-winning collection This Wound is a World. Mishka is a NNPN (USA) alumni playwright as well as a member of the Playwrights' Guild of Canada and the Centre des auteurs dramatiques.
Sophie is a director of mostly new creations which she presents under the name Nervous Hunter. Works include The Phaedra Project (No! I! Don’t! Want! To! Fall! In! Love! With! You!) (Montreal, arts interculturels, Montreal), I Am Such a Small Container for All This (Iceland, SEAS Festival), Domestik (Eastern Bloc, Montreal), and Estate (National Theatre School, Festival Occupe Bain St Michel). A rehearsed reading of her play Da Jia (Everyone/Big House) was presented at FuGen's Walk the Walk Festival in association with Factory Theatre, under the direction of Nina Lee Aquino. Sophie’s multidisciplinary inquiry on success, Lévriers, is one of the projects in incubation at Théâtre Aux Écuries. A graduate of the National Theatre School of Canada’s Directing Programme, Sophie strives for ways to combine her love of text and story with the working and research processes of dance and contemporary art.
Following her training in Paris and New York, Anne-Flore de Rochambeau pursues her practice as a dancer and choreographer in Montreal since 2010. Her work is traveling from the Montreal scene to the rest of Canada and abroad. In parallel to her personal work, she has co-created with the choreographer Liliane Moussa the in situ project Entrelacs which is successfully touring since 2015. In 2019, they are working on a new collaboration for the interdisciplinary and immersive project Laboratoire Popmolle. Since 2018, she also performs in France with the french company Christian & François Ben Aïm in the first solo of their series Instantané.
To be decided.
To be decided.
Lyne is a founder (with Emma Tibaldo) of Talisman Theatre. A graduate of the National Theatre School (2005), set design is Lyne's second career. Prior to this, she had worked as a professional engineer (McGill, 1987). Beginning as an Assistant Designer at the Stratford Shakespeare Festival, and as an intern at Michael Curry Designs, Lyne has since designed for many theatre, dance, puppet, and opera productions in Montreal. She has designed sets and costumes for Talisman productions since 2005.
Cedric has designed the lighting and scenography for more than sixty productions on the Montreal stage in theater, dance and opera. He also designed several projects abroad, particularly in South America, Europe and Asia. Fascinated by architecture and theories of space, his lighting designs break with all forms of naturalism in favor of an exploration of rhythm and composition as his recurrent collaboration with director Angela Konrad demonstrates. Alongside his design practice, he works as an instructor, coach, and evaluator for various educational institutions. He is also a researcher at the Hexagram Media Arts Research Center where his projects focus on the materiality of light, perception and architecture.
Fruzsina graduated from The National Theatre School of Canada in 2003, and has since created numerous costume, set, props and make-up designs. She also works in films in her country of origine Hungary. For Fruzsina, theatre in a multifacetted world of inspiration, exchange and growth.
Peter has been designing/engineering sound for theatre, dance, performance and art installations since 1980. He began his career in Italy, working for 10 years at the National Theatre of Rome (Teatro Argentina). Since then he has designed extensively for Robert Wilson including the theatrical works and he has worked with Peter Greenaway on the 100 Objects electro-acoustic prop-opera performance as well as Wash and Travel, in collaboration AGON ArsMagnetica of Milan. Since returning to Montreal in the year 2000, Peter has continued working internationally and started collaborations with Canadian artists. He has worked at the Centaur Theatre since 2002 as head of sound and sound design. He also works at Concordia University in the Fine Arts, Performance Production team for Theatre, and Music and Dance departments.