Theatre as a Cultural and Spiritual Symbol: on the Importance of a National Theatre in Québec François Saint Hilaire January 21, 2008 (First Draft) Abstract An architectural proposition is developed for a National Theatre in Québec as a response to the inadequate funding and incapacity of Québec s national drama to reach a broader public. The proposed National Theatre will engage the neighbourhood directly situated on the east side of Jacques-Cartier Bridge and will include various performance spaces for creation, representation, continuing education, as well as residences for visiting artists. The design approach will emphasize the notion of the National Theatre as a cultural and spiritual symbol, challenging the historical transformation of the theatre as a cultural industry. The research will also address the engagement of the National Theatre with the living culture of its audience and its neighbourhood, that is, all facets of activity that define our collectivity. This project proposes a series of in situ theatrical performances, as well as a collage and a photographic technique as an initial investigation in the exploration and understanding of the site and its context. Nominations for supervisor: 1. Professor Martin Bressani 2. Professor Radoslav Zuk 3.
2 Il se fait ici, au Québec, le meilleur théâtre québécois du monde. - Jean-Claude Germain Thesis Premise: French-Canadian and Québec Theatre The notion of Théâtre québécois came fairly late in our history: it appeared at the beginning of the Quiet Revolution in 1960 with the ideology of nationalism and the desire for social change (Godin and Mailhot 1970; Bélair 1973; Dumont 1987; Larrue 2003). Québec theatre symbolizes the cultural identity defining our collectivity (Przychodzen 2001): it is not French or English, and follows neither Canadian, American, nor European models. The form of theatre in Québec is as varied as its languages, artists and companies. The Seconds états généraux du théâtre professionnel québécois held in fall 2007 --26 years after the first one-- was an opportunity to collectively take stock of the current realities of our theatre. Following this assembly, Lefebvre (2007) argues that our theatre has entered an overproduction era: artists and companies are more prolific than ever, but productions are ephemeral regardless of their success. This is due in part to insufficient public funding, which promotes the cultural-products industry as defined by Scott (2004). In this context, artists devoted uniquely to theatre can hardly make a living and productions are not capable of reaching a broader public (Dubois 2007; Vaïs 2003). The question therefore becomes: is this reality calling for a National Theatre, that is, an entirely subsidized institution that would promote and advance our theatre, while providing some artists with a more secure platform from which to create?
3 Primary Area of Study: National Theatre in Québec The idea of a National Theatre in Québec coincides in time with the notion of Théâtre québécois. For that matter, critics have raised the same question since 1890, but this time for the entire country as Filewood (1999) mentions: If we have a Canadian Nation, then a Canadian drama must be one of its proofs; therefore we must have a national theatre to advance the national drama. Furthermore, throughout his historical and critical survey from the Greeks to the present Carlson (1993a) identifies theatre as a site of debate on the nature of nationhood. Therefore, the idea of a National Theatre in Québec is historically significant in the current discussion about Québec s collectivite identity (Nardocchio 1986). The creation of a National Theatre entirely subsidized by the Quebec Ministère de la Culture, des Communications et de la Condition feminine is a valid response to the challenges of identity and funding mentioned above. This thesis questions the programming and site requirements necessary for such an institution to reflect the cultural importance of drama in defining Québec s identity. Another idea shaping the architectural proposition will be that of the theatre as a new spiritual symbol: a gathering space that has replaced churches after the Quiet Revolution (Prychodzen 2001). The research will also address the engagement of the National Theatre with the living culture of its audience and its neighbourhood, that is, all facets of activity that define our collectivity, from industrial to recreational, residential to commercial activities. The many writings of Filewood (1999, 2004), as well as those of Jubinville (2000, 2006) and Larrue (1993, 2003) on a National Theatre in Canada and Québec, respectively, will be
4 considered as precedents to my work. The planning, building, and formulating of the policies of various National Theatres as described for example in Carlson (1993a,b), Cook (1976), Dace (1978) and Gershman (1983) will also serve as a basis for the thesis. Program: National Theatre in Montréal The role of a National Theatre is 1) to create new forms of theatrical experience, 2) to examine the history of Québec within the framework of its research, 3) to establish a link with the living culture of its audience and 4) to diffuse theatre culture (Carlson 1993a; Gersham 1983; Cook 1976). The assembly held last fall on the condition of professional Québec theatre also made a series of propositions for the future of theatres (Dubois 2007), such as: 5) to create a space offering continuous formation to theatre artists, 6) to install the principle of artist residency, 7) to create a space exhibiting costumes and set designs, 8) to provide emerging artists access to a professional theatre. The theatre must also 9) engage with the activities and architecture of the neighbourhood (see next section). This set of nine preliminary goals and ideas will start shaping the program of the National Theatre. At this stage only few programmatic elements can be advanced --size is given in terms of number of people rather than area as this is how most theatres are described in the literature (e.g. Hardy 2000,2006; Hammond 2006): a) a main theatre space with a proscenium stage (1000 seating people), b) a foyer on each floor (150 standing people/floor), c) a black-box theatre (500 seating people), d) a rehearsal room (200 standing people), e) a great hall (400
5 standing people), f) café (100 seating people), g) administration, h) a conference room (50 seating people), i) changing rooms (50 people), j) public wc (18 people). The site could also include studio residences for a few artists (300m 2 ), two studios for continuing education (400m 2 ), an underground parking (500 m 2 ) and an outside plaza with a seating area to watch the fireworks during the summer and ice-skating during the winter (500 m 2 ). Site: Au pied du courant, Jacques-Cariter Bridge, Montréal As previously outlined, the site chosen must engage the National Theatre with the living culture of its audience and its neighbourhood (Filewood 1997). Montréal is assumed as the best location for a first National Theatre because, amongst other reasons, it is where the majority of theatre artists work (Dubois 2007). A challenge in Montréal, however, is the reality of the developing quatier des spectacles. The latter promotes the gentrification and spectacularisation of the theatre culture (Noppen and Morisset 2004). By centralizing entertainment venues the quartier des spectacles creates a rigid environment for creation where the consumerism model of theatre is favoured; this is a tendency in many post-industrial cities (Hannigan 1998; Scott 2004). For the purpose of the project, a site outside this district is therefore chosen. The site is a strip of vacant lots on De Lorimier located at the feet of Jacques-Cartier Bridge in an historical area called Au pied du courant. This site was chosen because it is within a developing mixuse district in need of densification and offering several opportunities to interact with industrial, commercial, residential and recreational activities. Monuments such as the
6 bridge, the SAQ headquarter formerly prison des patriotes and maison du governeur, and the Craig pumping station surround the site. Métro Papineau is located within 100 meters. According to Corporation de Développement Écomnomique et Communautaire Centre-Sud (CDEC 2004) the site is of institutional and commercial vocation, and the removal of parking lots, the introduction of a bike path and public parks under the bridge are on the agenda. This area is also a gathering site to observe the Loto-Québec fireworks occurring every Sunday and Wednesday nights during the summer period. An entire city block of 45,000m 2 is available, but only a small fraction along De Lorimier Avenue will be necessary (see figure 1). Mode of Production: Engaging the Body with the Space In a first attempt to study the site and its surroundings I will use a method learned last semester during the laboratories of Jocelyne Montpetit, a world-renowned dancer. This method consists of in situ exercises allowing one to understand space through the experience of body rather than solely through visual analysis; it is an irrational approach that can reveal a certain perception of the site perhaps more linked to the sub-conscious of the performer. The exercises are inspired from both the German expressionism dance movement and the oriental notions of spaces and body. They are described in Aslan et al. (2002) and are not totally strange to those used today at the school of Jacques Lecoq in France (see Lecoq et al. 1997) and the idea of the body in space developed at the Bauhaus by Grunow (see Ackermann 1999). The in situ exercises will lead to a choreography, which will be recorded. Video stills and photographs of the
7 choreography will be used along with drawings to create in the form of a collage an artefact that will help creating spaces for the program. This mode of production is interesting for this thesis in that there is a theatrical aspect related to it. In other words, the mode of production is a series of stand-alone theatrical performances. A complementary or alternative mode of production is a photographic process that was used last semester for the studio project. Pictures of the site will be taken along various paths or from various points in space in a sequential manner. These pictures will then be digitally overlaid and manipulated to create a new vision or a condensed experience of the site, that is fictitious spaces that can inspire spaces for the program. Conclusion: The challenge The idea of a National Theatre is a response to the lack of funding and the incapacity of Québec s national theatre to reach a broader public. It can be argued that our theatre evolved to its present vigorous and productive state precisely because it has lacked a centralized National Theatre dedicated to the performance of Québec s national drama. One can also claim that a National Theatre in Québec is an historical anachronism inapplicable to our collectivity because of our experience of colonialism. The notion of a singular collective identity is both seductive and repulsive, and in any case, quite elusive. This thesis puts forward the idea that a National Theatre in Quebec would be a platform where all these questions of identity would be explored and discussed. The real challenge for this thesis is not to define what is Québec theatre, but to create an architectural expression of its reality, while challenging the historical transformation of
8 the theatre as a cultural industry. The proposed research is also to produce a program with the idea of contributing to the development of our theatre, to explore various venues for the typology of theatre and interact with the different activities of our collectivity. I believe that working with such a precise and controversial socio-political reality can generate an interesting architectural proposition. Committee and Resources: 1- Professor Martin Bressani I have worked in the past under prof. Bressani s supervision on two separate occasions. The first involved a studio project for community theatre on Ile d Orléans, and the second, involved a for a six-credits independent research on the Opéra the Paris. From what I am aware of, Professor Bressani s work also focuses on the structure of architectural experience in which the building is the actor and the visitor the spectator and vice versa. His research also studies at Quebec churches, spiritual symbols. I see theatres as a new spiritual symbol, a new gathering and communal space and therefore find interesting the parallel between our interests. 2- Prof. Radoslav Zuk I have also work with Professor Zuk in the past. He has designed many cultural and spiritual spaces such as churches and museums and therefore I think he would serve as an excellent resource.
9 List of Primary Sources: These authors specialize in Quebec theatre history. The theme of a National Theatre is recurrent throughout their historical and critical surveys of Quebec theatre. In their many writings (not all shown here) they situate the history of Québec theatre within that of Québec and Canada. Larrue s work focuses on the earlier theatre history, on Montréal theatres and minority theatres in Montreal (eg. Yiddish and Italian theatres), while Jubinville elaborates more on the artists and companies in Québec: Jubinville, Y., 2000. Une mémoire en veilleuse. Bilan et défis de l'historiographie théâtrale au Québec (1975-1995), in Dominique Lafon (dir.), Le Théâtre québécois 1975-1995, Montréal, FIDES, Archives des lettres canadiennes, volume X, Centre de recherche en civilisation canadienne-française, 37-54 Jubinville, Y., 2006. Histoire du théâtre et théâtre de l'histoire, L'Annuaire théâtral, Revue d'études théâtrales (SQET/CRCCF), n 39 Larrue, J.-M., 1993. Le Monument inattendu. Le Monument-National, 1893-1993. Montréal : Hurtubise-HMH, «Cahiers du Québec Histoire», n 106 Larrue, J.-M., 2003. La crise de l histoire du théâtre au Québec, in Beauchamp et David Théâtre québécois et canadien français au 20ième siècle, Montréal: Press université du Québec The work of this author is similar to those of Jubinville and Larrue, but this time at the Canadian level. He studies theatre mainly from 1890 to the present and as most writings on a Canadian National Theatre, focuses on English-Canadian theatre: Filewood, Alan, 1997. National Theatre/ National Obsession, in New Contexts of Canadian Criticisism, edited by A. Hebel et al., Peterborough: Broadview Press, 15-23 Filewood, Alan, 2004. Named in passing: deregimenting Canadian theatre history, in Writing and rewriting National Theatre History, edited by S.E. Wilmer, iowa City: University of Iowa Press, The last series of primary sources either give an overview of the occidental theatre history or theatre architecture history (Carlson 199a,b) or they are writings describing the planning, building, and formulating the policies of the National Theatres in Europe: Carlson, Marvin, 1993a. Theories of the Theatre: a Historical and Critical Survey, from the Greeks to the Present, New York: Cornell University Press, expanded edition Carlson, Marvin, 1993b. Places of Performances: the Semiotics of Theatre Architecture, New York: Cornell University Press
10 Cook, Judith, 1976. The National Theatre. London : Harrap Dace, W., 1978. Proposal for a national theater, New York: Richards Rosen Press Gershman, J.,!983, Revealing the Spirit of History: The National Theatre of Strasbourg (France), The Drama Review, Vol. 27, No.1, New European and U.S. Theatre, Spring, 17-24 List of Secondary Sources: Ackermann, Ute, 1999. Conceptions du corps et modernité du Bauhaus, in Fiedler and Feierabend, Bauhaus, Könemann, 88-95 Aslan, O., et al., 2002. Butô(s), Paris: CNRS. Bélair, M., 1973. Le nouveau théâtre québécois, Montréal: Léméac CDED, 2004. Sous le pont Jacques-Cartier: table pour d aménagement du centre-sud, Corporation de développement économique et communautaire, August 2004, http://www.cdeccspmr.org/tele/sous%20le%20pont%20jacques %20Cartier%20aout%202004.pdf, 10/01/08 Dubois, M., 2007. Chantier de réflexion: Les generations du théâtre québécois, preparatory document for les seconds états généraux du théâtre professionnel québécois, April 3 rd 2007, le Conseil québécois du théâtre: http://www.cqt.ca/dlls/pdf.dll?documentid= {86C6341D-670E-45C8-ABD1-CBC9F5C657C7}&TargetGroup=&, 16/01/08 Dumont, F., 1987. Une revolution culturelle?, in Le sort de la Culture, Montréal: l Hexagon, 285-309 Godin, J.-C. and L. Mailhot, 1970. Chapter 1 350 ou 25 ans d histoire?, in Le théâtre québécois, tome 1, Montréal: HMH, 23-38 Hammond, Michael, 2006. Performing Architecture: opera houses, theatres and concert halls for the twenty-first century, New York: Merrell Hannigan, J., 1998. Fantasy City: Pleasure and Profit in the Postmodern Metropolis, London: Routledge Hardy, Hugh, 2006. Building Type Basics for Performing Arts Facilities, Hoboken, NJ: Wiley & Sons Hardy et al., 2000. Theaters, New York: Watson-Guptill Lecoq, J., et al., 1997. Le corps poétique: un enseignement de la creation théâtrale. Paris: Actes Sud. Lefebvre, P., 2007, Le théâtre des metamorphoses: evolutions du théâtre québécois depuis les états généraux de 1981, Montréal: le Conseil québécois du Théâtre Martel, Frédéric, 2006. Theater: sur le déclin du theatre en Amérique (et comment il peut resister en France), Paris: éds. La Découverte Nardocchio, E.F., 1986. Theatre and Politics in Modern Theatre, Edmonton: University of Alberta Press Noppen, L., L.K. Morisset, 2004. L après vision, ARQ, vol.128, 20-24
11 Prychodzen, J, 2001. Vie et mort du théâtre au Québec: introduction à une théâtritude, Montréal et Paris: L Harmattan. Scott, A.J., 2004. Cultutal-Products Industries and Urban Economic Development: Prospects for Growth and Market Contestation in Global Context, Urban Affair Review, 39, 461-490 Vaïs, Michel, 2003. Un système à casser ou à transformer?, Les Entrées libre de Jeu, cahiers de théâtre Jeu, no.109, 45-58 Appendix: Figures figure 1: a) city block for the site; b) prison des patriotes et maison du gouverneur, historical buildings; c)jacques-cartier Bridge; d)papineau metro station; e)railroad tracks; f)radio-canada tower