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"Lepage, Robert, 1957-"
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Theatricality of Robert Lepage
The Theatricality of Robert Lepage studies several productions, including The Dragons' Trilogy, Vinci and Tectonic Plates, The Seven Streams of River Ota, Zulu Time, and The Far Side of the Moon. Dundjerovic provides major new insights into Lepage's creative process through an examination of his workshops, open rehearsals, and performances, as well as interviews with Lepage and his collaborators. Outlining the key production elements of Lepage's theatricality, Dundjerovic provides a practitioner's view of how Lepage creates as a director, actor, and writer and explores Lepage's practice within both the local Québécois and the international theatre context.
eBook
Robert Lepage on the Toronto stage : language, identity, nation
\"Robert Lepage is recognized as a world leader in the production of innovative theatre for a global community. This study considers Lepage's encounter with a more immediate significant other, namely English Canada, and contends that while the triumph and popularity of Lepage's theatre is very much global, the artist's relationship with the \"Rest of Canada\" remains a central component of the identity question consistently addressed throughout his work. The book shows how Lepage was formed by, and in conversation with, Toronto. While this approach by no means contradicts the emphasis on globalisation, and indeed, adds another port of call, it brings to the fore a fundamental relationship critical to a fuller understanding of his work. His relationship with English Canada shaped his work initially and his reception in Toronto served as feedback loop influencing his productions. Rather than responding solely to the global themes in his work, this audience saw aspects of its own identity reflected in his theatre. Lepage 'staged' and developed Toronto's understanding of intercultural and transnational theatre. Robert Lepage on the Toronto Stage analyzes the playwright's importance on the Canadian and international theatre scene and in the landscape of political, cultural, and linguistic identity. Toronto's embrace of Lepage, whose oeuvre steps beyond a narrowly defined concept of national theatre, also allowed the city to redefine its importance and aspirations on the international theatre scene.\"-- Provided by publisher.
Book
Intermediality and Spectatorship in the Theatre Work of Robert Lepage
Robert Lepage has imposed himself in the past three decades as a Wunderkind of contemporary theatre, with eagerly awaited and widely acclaimed productions at the most prestigious theatre festivals and venues around the world. Soon after his international breakthrough with The Dragon's Trilogy (1984), Lepage's work became an object of particular scrutiny for critics and scholars, and continues to be subject to media exposure, inspiring cultural critique, academic study and the admiration of audiences across the world. A recurrent fascination with the formal novelty of his theatrical approach imbues most, if not all, critical considerations. However, in spite of the wide interest provoked, little space has been devoted to the quintessential impact of his work on spectatorship, and, most importantly, to connecting the dots between his creative practice and its substantial impact on audiences. Intermediality and Spectatorship in the Theatre Work of Robert Lepage bridges this gap by exploring the notion that intermediality - observed both as a mise-en-scene strategy and a perceptual effect in performance - is situated at the core of the director's approach. This approach is situated in direct relation to the evolving expectations and medial competencies of spectators, demonstrating an in-depth understanding of the ways in which different media can be engaged in the creative process in a holistic way in order to alter the regime of spectatorship, to enhance its creative and cognitive potential. Lepage's work and theatre making process are analysed here from an interdisciplinary perspective that combines theatre, media and cultural studies, and which is applied to his solo shows, namely Vinci (1986), Needles and Opium (1991), Elsinore (1995), Far Side of the Moon (2000) and Project Andersen (2005). In bringing to the forefront interconnecting notions of
intermediality and contemporary spectatorship, the book highlights the director's preoccupation with an ongoing dialogue with audiences across the world, and their particular involvement in the development of one of the most innovative practices of the Western theatre landscape.
eBook
The Japanese-Garden Aesthetics of Robert Lepage: Shukukei, Mitate, and Fusuma-e in Seven Streams of the River Ota and Other Works
This article demonstrates the existence of a strong aesthetic kinship between the mise en scène of Robert Lepage and the representational mode of the classical Japanese rock garden. In order to elicit the creative participation of an active spectator, both use such Zen techniques as a radical reduction of scale, or shukukei (miniature landscape); minimalistic material metaphors, or mitate (metaphoric representation); and an asymmetrical, fragmented style, or fusuma-e (fragmented scene). Drawing on the theory and practice of Japanese rock gardening, this article introduces a new critical vocabulary for describing the representational logic, and enlightening effects, of Lepage's approach to ‘setting up stones’ on the stage in Seven Streams of the River Ota and other works.
Journal Article
Neo-Baroque Configurations in Contemporary Canadian Digital Poetics
McLuhan's maxim \"the medium is the message\" resonates in McKenzies Bibliography and Sociology of Texts where he defines \"texts\" to include oral expression, sound (voice, music, or audio sources), cinematography, radio, video, visual graphics, and excursions into electronic media. An acoustic rhetoric could include: i overaU structure: clef, prelude, overture, motif, figure, cycle, ritornello, finale, etc.; 2 pace: largo, lentissimo, aUegro, andante, etc.; 3 dynamics/intensity: forte, sotto voce, pianissimo, etc.; 4 recursion: vibration, frequency, iteration, repetition, percussion, periodicity, uniformity, pulse, pulsation, throb, flutter, palpitation, osculation, echo, reverberation, resonance, echolalia, refrain, duplication, etc.; 5 harmony: medley, syncopation, euphony, eurythmia, etc.; 6 contrast: counterpoint, polyphony, heteroglossia, digression, tangent, punctuation, overlap; 7 rupture: cacophony, disjunction, interference, interruption, etc.
Journal Article
Puppets and Machines of the Mind: Robert Lepage and the Modernist Heritage
The work of Robert Lepage is examined in the context of the avant-garde, from Robert Wilson and Peter Brook, through the French Surrealists, back to Edward Gordon Craig. As well as being an icon of post-modernism, analysis of productions such as Needles and Opium, Elsinore and Zulu Time show the degree to which Lepage has realized Craig's ideals of the Übermarionette, and his screens, as well as ‘Scene’, his concept of a flexible, mechanized performance space. What this demonstrates is the unity of the modernist movement throughout the twentieth century.
Journal Article
States of Play: Locating Québec in the Performances of Robert Lepage, Ex Machina, and the Cirque du Soleil
Informs that despite the apparent ambivalence of Robert Lepage's Ex Machina, and the Cirque du Soleil toward their Québec location, successive Québec governments have embraced these performance groups as \"Québecois.\" Argues that Ex Machina negotiates the tensions between geographical and ideological spaces by affiliating itself rhetorically with Québécois cultural nationalism, but operates within an international performance circuit. Informs that the Cirque du Soleil strives to remove itself from the national-international plane altogether. States that in this process, the nation is first exploited, then gradually disowned, as the companies' identifications shift from national loyalty to corporate independence, internationalism, and \"imagi-nationality.\"
Journal Article
THE HAUNTED HOME: Colour Spectrums in Robert Lepage's Le Confessionnal
[...]the act of communion is both a dedication and an exorcism, an attempt to return to the father by cleansing the world of an alternative to filiation. Because it seeps through the red into the green and blue, yellow is by far the more threatening colour, a colour that demonstrates how difficult the transition into the secular is for a society that has based its cultural practices on the conservative discourse of the Catholic church. [...]even in 1952, there already lingers the possibility that Pierre's and Marc's father was unwilling to succumb to the pressures (and subsequent salvation) of the confessional, choosing instead to live in silence with his sins, haunted by the ghosts of the past which eventually lead him to choose not to take care of his eyes, thus freeing himself from his haunted vision of the world. A pejorative association between yellow and Japan is suggested through linking Japan, Marc and Massicotte (in this case through the yellow that marks homosexuality as deviant behaviour). Since the home is always both familiar and uncanny (see note 2), neither Rachel nor Marc have access to the Heimlich as separate from the Unheimlich, and it is this notion of the Unheimlich that keeps them from feeling as though they belong in the community (because of the constraints of the confessional through which the Church attempts to create a home that is only heimlich, thereby repressing the potential of the Unheimlich).
Journal Article