#laurence dauphinais

[booasaur]

Transplant (2020) - 3x05 - Neeta and Phoebe

[yara2001]

The Inside of a Circle

Well actually it's "Cyclorama" and it's a play that my class and I watched. but before that all I had was the name, Cyclorama, meaning "a circular picture of a 360degres scene, viewed from the inside." (Google dictionary) and now that I think about it having watched the play it's all becoming full circle. In fact, this particular play educated us on the history of English and French theaters in Canada. I loved how much the viewers were able to "participate" and "interact" with the acters in order to answer questions, laugh, even getting in a bus that transported us from one theater to the next through the divide of English and French plays. In addition, the actors were hilarious, always cracking jokes and bantering with each other while being dressed in modern clothing. There were 4 performers, 2 of which were real professor in French (Alexandre Cadieux) and English (Erin Hurley) history, and the 2 others were actors in French (Laurence Dauphinais) and English (Antoine Yared) plays. They were a truly addicting bunch. I specifically bonded with Antoine; his story was that he (a performer for English plays) was always casted off and was treated with little respect by the other cast members since he didn't know much of the history of the French plays. Indeed, he like I was Lebanese but also had lived a portion of his life in Saudi Arabia. I actually started to resent Laurence in favor of Antoine since she was picking on him the most. The props they used were quite mesmerizing. In fact, the one that they used the most was a table that had a light built into it and once they would place maps or pictures on it, it would project on a screen for us to see. Oh! But the most memorable part of this play was that it was completely bilingual. The cast would constantly switch from English to French and while they did so the subtitles would also switch to the opposite language. I was in awe of the extent of the premeditation of the play, how the time in which they switch languages is all planed even when it comes to playing with the subtitles it's really impressive in my opinion. And after a long and hard battle of importance between the French and English plays they've decided to coexist and honestly, I wouldn't want it any other way.

[maelledoesblognow]

Blog n.8: Laurence Dauphinais, Cyclorama

At first, I was really confused. For a long moment, I thought the play was just the introduction ...It felt like a really realistic moment. Too realistic! I thought there would be very distinct from "normality" but it just blended with the reality. The setting was a classroom or à library and each outfits somewhat showed the personality of each actors. Laurence's outfit was for me the one which did the best because just by seeing her I could slightly understand a certain rebellious and a strong figure. It also free. Laurence was a bit out of th set. Unlike Erin and Alexandre who were the typical historic people. Both outifts were in barmony with the stage. I could also see Antoine's costume was a bit laid back. Less professional than Erin and Alexandre. The tense chemistry with Laurence could already be noticed with their costumes. They were both quirky in the setting.

As said earlier the stage felt "real". It means It wasn't far from the public and quite literally! When we had to move to the other theater most people were walking on the stage. It didn't even a step andwas on the same level as the public. Really close, the setting was just as every library and/or working environment see commonly. It almost felt like we were in a classroom. They were indeed speaking to us. And it wasn't just some monologue. The public was used as a character. Like an everyday scene, we were sharing the moments with the actors.

There was a lot of machinery and diverse objects used as i kept in mind the little truck... It was giving a comic effect that sometimes distracting the public. Antoine's character had a lot in his mind but just as in reality we weren't able to be omnipotent and had to wait for the answers coming one by one.

I personally was moved by the play. I felt bad for Antoine; I got irritated by Laurence and I absolutely enjoyed Erin and Alexandre...The fact that we had to move outside, do a visit then take place for the other part of the play was a whole new experience for me. I related to Antoine's character and how he was sometime misunderstood and in his place I would have react the same way as he did to Laurence.

[queendiiilan]

First of all, the November third at Centaur Theatre we saw the Cyclorama performance by Laurence Dauphinais. Interestingly, there was no costume or invented characters. In fact, all the performers they were using there real names and own everyday clothes. There were four performers two of them where university teachers. One of them is a History of the theatre teacher at UQAM and the other performer is a theatre teacher at the University of McGill. Furthermore, the most exciting par of that performance was all the historical knowledge that we spectators get to experience. In fact, the performance started at the Centaur Theatre but in the middle part the public got seven city buses that made us a small tour of Montreal City. We got to have a private tour around Saint-Laurent. First, we passed in front of the Basilique Notre-Dame, the main street and the Monument-National. Meanwhile we hear poems by Marco Micone, " Speak What" and Michelle Lalonde, "Speak White". To conclude, the performance second act ends up at Centre du Theatre d'Aujourd'hui. Furthermore, the set design was a large library which perfectly matched to the performance that was very heavy with all the knowledge around the history of the theatres in Montreal. Surprisingly, all the performers were directly speaking to the audience which was making us participate to those questions and debate between the characters. Personally, I really loved the concept of integrating us the public in this performance to make us learn more about our history.

[cozymultitudes]

Laurence Dauphinais, Cyclorama

On November 3rd, our entire class went to see Cyclorama, a creative play created and directed by Laurence Dauphinais. It was an immersive experience as it took place in two different, well known Montreal theaters. The play was conducted in English and French. That is an essential part of the overall Montreal experience and the play itself. Dauphinais takes us through her childhood before going over her career and its beginnings. Through her storytelling, she highlights the difficulties of the Montreal theater scene in relation to the separation of francophones and anglophones.

This play maintains cultural relevance through its exploration of the language predicament in Montreal. Dauphinais mentions the division in the Montreal theater scene between French speakers and English speakers. This division is jarring as the members are pursuing the same career, yet the community separates itself because of the language barrier. Nonetheless, this remains a relevant issue past Dauphinais’ childhood as it is still a topic of discussion today. The reinforcement of the 101 law through the 96 law in Quebec maintains this idea that there is a separation between francophones and anglophones. Therefore, it is understandable that the play took place in the heart of Montreal, where this dilemma is the most poignant.

I thoroughly enjoyed the play. The production used an innovative idea to transport the audience through the city and allow us to physically experience the duality of the city. The two different theater rooms were separated by a short bus ride, yet the atmosphere and space the play took was different in both rooms. I could feel the duality of the entire anglo vs franco debate.

[proud-and-prejudiced1100]

Cyclorama

I absolutely adored the experience that was Cyclorama. It was a surprisingly self-aware and meta approach to theatre, unlike anything I had experienced before. The lack of elaborate costumes, the natural and intuitive approach to dialogue, as well as the inclusion of actual historical references gave a "non-scripted" feel to the play. It was as though we were watching a presentation on the actor's individual relationships to language and theatre rather than a performance. The way English and French intertwine during the play is probably what struck me the most. As someone who is bilingual and lives in Montreal, the relationship between both languages felt genuine, a true representation of how many of us talk and interact with each other. Laurence Dauphinais managed to capture the flow and alternance with which most of us speak both languages, each one used as an extension of the other. The variation of language was aided by subtitles projected on a screen above the stage. I thought that this was a brilliant way to aid in comprehension, making the play more accessible to all even if they did not speak one of the presented languages. I also thought that the change in scenery was quite interesting. Instead of simply explaining and showing the differences between both theatres, we got to experience them both through Dauphinais' lens. It helped to further highlight the differences and similarities between both Montreal cultures, whilst also showing how they are able to work together in order to create something amazingly unique.

[cozygothgf]

Francesca Pinard 20183078

Laurence Dauphinais, Cyclorama

Cyclorama was definitely NOT what I was expecting. To be quite frank, I had not researched the play beforehand and I sort of expected it to have something to do with bicycles, something entertaining.

Boy, was I wrong! The play was more of a theatrical documentary, with the character’s pretty much breaking the 4th wall the entire play as they searched to understand the reason behind the divide of the English and French theatre scenes in Montreal, including an intermission-length bus ride from the Centaur Theatre to the Centre du theatre d’aujourd’hui. The concept was interesting, and they provided us with informational booklets for the bus ride with an audio to accompany the pamphlets. I feel like I have to point out that flipping through the pages of a booklet, in a crammed bus full of people attempting the same task, while simultaneously attempting to hold on to anything as to not fall on anyone while the bus swayed through the neighborhoods - yeah, that wasn't convenient, but original and unexpected nonetheless.

The set at the Centaur was really cool and out of the ordinary. It consisted of a large table and bookshelves along the back wall, filled with boxes, books, documents, memorabilia, and trinkets. An upper level, accessible with a ladder, was also present on the right side of the stage, where more items and props were displayed. The actors could climb up the ladder and bring props to the lower level. There was a projector atop the table, which reflected what would be placed on it on a screen for the public to see. It was all rather ingenious, in my opinion, especially when they placed the map of Montreal on the table and put some tiny toy mountains to represent Mount Royal.

Cyclorama raised the issue of language between the French and the English, it’s subsequent divide, but also understanding of each other, some sort of truce. They proudly displayed subtitles in both languages to accommodate their public and display their unity.

[falihasairally]

Blog 9: Laurence Dauphinais, Cyclorama

A cyclorama mainly refers to a curved background in an artistic setting. Thus, when I first heard that the piece is entitled Cyclorama, it reminded me of the “Colossal Civil War” painting, which is a panoramic painting illustrating the Civil War’s Battle of Atlanta vividly. Therefore, I expected the play to broach themes relating to the conflict between a distinguished set of ideologies. Indeed, as I anticipated, the piece puts forward the co-existence of francophones and anglophones within Québec, a province that stands out for its attachment to the Francophone culture. Laurence Dauphinais, the playwright, adroitly depicts to her audience the tension between these two linguistic communities by enacting their divergent perspectives through a francophone drama professor and an anglophone drama professor. The presence of distinct high-ranking academics establishes the playwright’s aim to enlighten her audience on the historical conflict between francophones and anglophones in Québec. Ironically, the professors’ explanations gradually took the form of a jargon as they bombarded the audience with an amalgam of historical facts. Hence, their instructions further blur the causes of linguistic tensions.

Nonetheless, the professors seldomly speaking in their second language instead of their native tongue alludes that the francophone and anglophone communities in Montreal have unintentionally created a conjoined identity that distinguishes them from the rest of Canada — Montreal’s plurality. Consequently, the piece metaphorically celebrates Montreal’s plurality and encourages linguistic and cultural diversity through the tripartite segments of the play. The first part takes place at the Centaur theatre — an anglophone theatre, the second part takes the form of a bus trip, and the final part takes place in a francophone theatre — Théâtre d’Aujourdhui. At the end of the play, it can be regarded that the three segments of the piece interlace with each other in a way to emphasize that cultural and linguistic plurality has become a part of Montreal’s identity. In the first part, the audience gets acquainted with the reasons why the two dominant linguistic groups in Montreal distanced themselves from each other. Then, in the second part, we learn that they both have a collective heritage, as their ancestors contributed to the city’s socio-economic growth through a live voice-over. Then in the 3rd part, the piece acknowledges that the arrival of immigrants also contributes to linguistic and cultural diversity as they have also acquired French or English while conserving their native tongue. Immigrants also aid in the socio-economic growth of Montreal, just as the Montreal francophone and anglophone settlers did. Montreal’s diversity is mainly showcased in the piece by inserting Antoine Yared’s personal story — a Lebanese raised in Montreal. Yared acquired French and English just like her co-lead, Dauphinais, a Montreal francophone. In short, Cyclorama celebrates Montreal’s linguistic diversity through its divided segments. (The teaching assistant, Crystelle Cotnoir-Thériault, gave me the green light e-mail to write more than 300 word-limit). (454 words)

[hsing-yilai]

Cyclorama

This play is definitely amazing and full of fun. Firstly, the actors and actresses speak English and change to speak French in the same piece of play from time to time. If you just know one of these two languages, don't worry and there are subtitles on the projector screen. Also, sometimes, the player who is Anglophone would speak French instead of English, which makes me feel amusing and thought-provoking.

Besides, Laurence Dauphinais is the main director and she also has many different crucial roles in this play like one of the actress and the writer. She presents the behind stories in a documentary way. The storyline of this performance talks about Francophone and Anglophone people in Montreal from the past to the present time. Additionally, they mentioned some cultural conflicts, exchanges between different cultures and different classes of Anglophone and Francophone people in the society.

Apart from the plots, spectators changed spaces to enjoy the show including Centaur Theatre, Centre du Théâtre d'Aujour'hui and a ride on the bus. When we got on buses, players asked us to take different seats according to our identities.

During the drive, there was a radio introducing the history about bilingual situation of this city.

After arriving at the third place, the projection technology was used to connect two different theaters. At the end, the actors told and discussed a well-know line from Shakespeare's “Romeo and Juliet”to end this show. In conclusion, this is a fascinating performance and it gives us another chance to think about the coexistence of Anglophone and Francophone people in this city.

[andyumtl]

  Cyclorama Celebrates Montreal’s Two Solitudes

                   

          Cyclorama is an amazing play written by Laurence Dauphinais about French and English theatre in Montreal. The mystery at the heart of this entertaining and docudrama is why anglophones and francophones are so divided. The play is staged in 3 places during the same night: Centaur Theatre, Théâtre d’Aujourd’hui and in a bus between the two theatres. Historically, both collaborating theatres were founded around the same time but with very different mandates. Since 1968, Théâtre d’Aujourd’hui is a more nationalist theatre, dedicated exclusively to French-speaking Quebec and French playwrights. On the other hand, the Centaur Theatre was founded in 1969 and located in Canada’s first stock exchange building in Old Montreal. The theatre is devoted to producing contemporary and classical plays from the English international canon. In each places, we learn about Montreal’s history theatre and the animosity between French and English-speakers. In the bus, spectators can enjoy historical sites and upbeat music. In each theatre, the distance between the seats and the stage is minimal which creates an intimate and relaxed ambiance. I really appreciated the actors, who were dressed like everyone in the audience, playing themselves in their life stories. Through their disputes, they seem more like some acquaintances trying to tell us their stories about French and English Montrealers. Actor Antoine Yared plays his alter ego in the production. Born in Lebanon and raised in Montreal, the trilingual actor has performed in English in theatres across Canada and the United States, as well as in many local French productions. Yared originally studied in French and Arabic but went on to study at Dawson’s and Concordia’s English-language theatre programs. On the other hand, Dauphinais comes from a separatist Quebec family and was fascinated by English. She says Cyclorama approaches these questions about identity through the angle of theatre, but the play is also connected to culture and politics. With this production, she wants Montrealers from both linguistic divides to meet, to laugh at themselves and at each other as well as challenge their preconceived ideas about one another. However, I think we don’t get an answer why that dividing line has cut so deep for so long? Even the show’s three-hour duration hasn’t enough time to arrive at a satisfying conclusion, it is definitely headed in the right direction.

[skillstopallmedia]

Review of If You Ever Listen To Us | A bottle in the sky...

Review of If You Ever Listen To Us | A bottle in the sky…

At a time when we fear the worst catastrophes, wars and cataclysms, on our little blue planet, it is not far-fetched to wonder what trace humans will leave on this Earth – which they are gradually destroying. (and knowingly). No wonder, in this context, that we turn to the heavens. Posted at 7:00 a.m. It is from this observation that Laurence Dauphinais and Maxime Carbonneau designed this…

[annabortolami]

Laurence Dauphinais, 'Cyclorama'

Cyclorama is a ground-breaking play written by Laurence Dauphinais about Montréal’s theatre history and, in particular, about the hostility between the Francophone and the Anglophone community in this field. The peculiarity of this play is that it is staged in two theatres in the same night and, in order to cover the journey between the two locations, multiple buses are rented. Along the way, the audience can enjoy a little tour of the city while listening to some further historical aspects and joyful music. In both places, the theatre spaces are especially intimate in the sense that the physical distance between the stage and the seats is minimal. As a consequence, I believe that it creates a very informal and relaxed ambience. Similarly, the performers’ costumes are rather casual, and they gave me the idea of a conversational moment. Indeed, the actors are truly speaking to their spectators, and they interact with them illustrating various historical pieces of information concerning Montréal’s theatre history as well as representing the opposition between the Francophone and Anglophone communities through Antoine and Laurence’s dispute. As regards the play’s subjects, I think the director’s intentions to reconcile the two sides and of seeking some common ground between them are noble and innovative, indeed she was inspired by her own experience derived from working regularly with artists from both communities, that made her ask herself: “Why are we so divided?”. In conclusion, I have found Laurence Dauphinais’s play extremely original and interesting for the themes it presents and how it is put on stage, however I believe that the fact that most of it consists of a historical presentation made it rather dispersive and difficult to follow, even though the presentation is accompanied by effective images and photos.

[zinesofthezone]

LA SAISON MORTE LAURENCE DAUPHINAIS

SELF-PUBLISHED CANADA, MONTRÉAL, 2017 OFFSET, PERFECT BOUND 20,3 X 20,3 CM

LINK TO ZINE

[ambrosiacombr]

Inédito no Brasil, espetáculo canadense SIRI estreia em novembro no Oi Futuro, por Vivian Pizzinga

Uma atriz e uma máquina de inteligência artificial como protagonistas. Assim começa uma investigação sobre a relação entre o homem e a sua criação. Em um tempo em que pensadores questionam a necessidade do corpo para ser humano, quem é o verdadeiro programador? Inédito no Brasil, o espetáculo can...

#AgendaCultural #TeatroDança #GavetaProduções #LaMesseBasse #LaurenceDauphinais #LetíciaTórgo #MaximeCarbonneau #OiFuturo #OlivierGirouard #RioDeJaneiro #Siri

http://ambrosia.com.br/agenda/inedito-no-brasil-espetaculo-canadense-siri-estreia-em-novembro-no-oi-futuro/

[page58-blog1]

Some Things Can't Be Unseen in Mathieu Ratthe's Alien Invasion Sci-fi Thriller 'The Gracefield Incident' (Trailer)

Some Things Can’t Be Unseen in Mathieu Ratthe’s Alien Invasion Sci-fi Thriller ‘The Gracefield Incident’ (Trailer)

      “What an amazing weekend with my best friends.” In ‘The Gracefield Incident’ Matt, a video game developer, embeds an iPhone camera into his prosthetic eye to secretly record and give us a point-of-view documentation of a weekend with friends in a luxurious mountain top cabin.

“What is that?” “What is what?” “That.”They’ve arrived. The weekend takes a terrifying turn when a meteorite…

[terrorama]

Jovens Lutam Contra Ameaça Alienígena no Trailer de 'The Gracefield Incident'

Uma das produções da qual há muito tempo estamos falando e pelo qual ansiosamente aguardamos é o found footage de abdução alienígena The Gracefield Incident de Mathieu Ratthe. A produção ronda por aui desde de meados de 2014 e volta e meia reaparece com um novo material. Felizmente a Film Mode

Veja mais: http://trror.net/eyQUB