Entretien / Press conference..

Interview with Enrico Casagrande and Deniela Nicolo

News from Capital Critics Circle


Transcribed  by Paul Lefebvre
Translated by Andrée McNamara Tait

In your recent texts and interviews, you do not talk about catharsis. We know
that Brecht wanted to neutralize it, in order to keep intact the spectator’s desire
to change reality. However, your practice seems to indicate an interest in
cathartic energy; are you actually using it to get away from fiction in order to
move towards action?
Daniela Nicolò – With Too late! (antigone) contest #2, which we presented at the
FTA last year, we did indeed use Brecht’s Antigone. In terms of your specific
question regarding catharsis, I can say that we are working on two levels of
theatre. There is the intellectual level, which comes from a rational vision of the
text and other materials; then there is the physical level. Catharsis is connected to
the actors’ physical work, to the energy they develop on stage. We work on these
two levels at the same time in order to attain another dimension, where catharsis
propels us into politics, propels us into doing.


Robert Lepage : Conférence de presse Eonnagata (English et français) au CNA

News from Capital Critics Circle

Eonnagata Robert Lepage : Conférence de presse  Eonnagata (English et français)

with  Sylvie Guillem, Robert Lepage et Russell Maliphant (au CNA )

Portions of the discussion are inaudible.   The conversation was in both languages, depending on the questions asked. There was no translation. Mon appareil n’a pas capté certaines portions de la conversation. La  rencontre  a eu lieu en deux langues et  je reproduis les réponses dans la langue parlée par l’intervenant, sans traduction.  (A.R)

Rosemary Thompson:   So tell me about this collaboration because this was quite unusual.

Sylvie Guillem : It was my fault. I always admired Robert’s work…. (The rest is barely audible)

Robert Lepage:  I was very interested in this from the start. My work originally came from physical theatre;  those were years where we didn’t speak much, or  we spoke gibberish and the text at that point was not important. We were involved in the techniques of Lecoq, mime, commedia dell’arte. In those days there was a lot of political theatre, a lot of street theatre but as of 1972, my work became too talkative. The  spoken word become more important although I didn’t feel very comfortable doing that kind of verbal theatre but one  cannot go back to earlier forms of expression, or go back to what one did before. This new experience has given me an opportunity to ask myself about the process of  storytelling, about my body, about  theatre, about  live performance and what one convey’s with emotions. .



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