Denis Marleau

Denis Marleau is a director and scenographer born in 1954 with the Quebec.

Formation and beginnings

Important figure of the Québécois theater, Denis Marleau supplements his training of actor to the Academy of dramatic art of Montreal (1973-1976), which it will continue during two years in Europe by training courses of setting in scene and body MIME. On its return to Quebec, he plays for Roulotte of Paul Buissonneau and in a téléthéâtre the Evil liked of François Mauriac, carried out for Radio-Canada by Paul Blouin. Its first setting in professional scene (1979) is presented to Sherbrooke starting from an assembly of Marcel Sabourin ordered by the Union of the Québécois writers, Littérature, a spectacle in a decoration of the painter and glass maker Marcelle Ferron, signatory of the Total Refusal.

Director and artistic director

It founds in 1982 its company of creation UBU , following the resumption of Cœur to gas & other texts Dada which had ordered to him one year earlier the Museum of contemporary art of Montreal within the framework of a retrospective Sonia Delaunay. Its first spectacles drawing towards the dance-theater rise from collaborations with the independent choreographers Edouard Lock, Ginette Laurin and especially Daniel Léveillé for the Hundredth harms of Mishima (1983), Portrait of Gilded of Helene Cixous (1984) and Théorème 1985 of Pasolini. He undertakes then a series of joinings drawing from the historical avant-gardes of the XXe century: Merz Operated , texts of Kurt Schwitters, (1987) and Oulipo Show according to Queneau, Pérec, Calvino, etc (1988) which will turn during three years to Europe; Picasso Theater - the desire caught by the tail with the Museum of the Art schools of Montreal (1985), Ubu cycles according to Jarry (1989), Luna-Park 1913 - the Victoire under the sun of Malévitch-Kroutchonyk for the inauguration of the new Museum of contemporary art of Montreal (1992) and Merz Variétés (1995) in the Center Georges Pompidou. With the beginning of the year 1990, it develops a project of musical theater for New Music America Festival entitled gray Cantate , composed of several texts and dramaticules of Samuel Beckett presented to the Historical Vault of Good Pasteur. Same author it puts in scene at the Theater of Quat' Under the Last band (1994) which it will take again seven years later, always with Gabriel Gascon, in Canadian round followed by a series of representations to Paris with the Theater of the international City (2003). In 1992, it assembles oral Treason , of Mauricio Kagel with the New Modern Whole under the direction of Lorraine Vaillancourt. With the passing of years, it systematically integrates into its scenic productions the original musics of Jean Derome, Robert Normandeau, John Rea, Denis Gougeon and Denys Bouliane of which this last writing of the original compositions for Woyzeck of Georg Büchner to the National theater/Communauté French of Brussels (1994) and Lulu , of Wedekind to the Theater of the New World (1996). In parallel, it develops a close cooperation with the sculptor Michel Goulet who designs several decorations of which that of Urfaust, tragedy subjective , according to Goethe and Pessoa, creates with the Factory C and presented in round in Berlin, Munich and Weimar (1999). The following year Denis Marleau is named artistic director of the French Théâtre at the National center of Arts in Ottawa (2000-2007) where it puts in scene inter alia: Quelqu'un will come from Jon Fosse (2002), the end of Casanova of Marina Tsvetaeva in coproduction with Space GO (2006).

Dramaturgic research and new technologies

With the Festival of theater of Americas, Denis Marleau is the director most often programmed with almost ten creations of which Ubs , according to Jarry (1991), Roberto Zucco , of Bernard-Marie Koltès (1993), Catoblépas of Gaetan Soucy (2001) and We had sat on the shore of the world , of Jose Pliya (2005). To five recoveries, it is invited to the Festival of Avignon with old Maîtres of Thomas Bernhard (1996) who knows a great diffusion in France; two world creations of the Québécois playwright Norman Chaurette: the Passage of Indiana (1996) and Small Köchel (2000); Nathan Wise the of Lessing at the Main courtyard (1997) and the Blind men of Maurice Maeterlinck (2002), a installation-theater which will be taken again in English with the Festival of Edinburgh and which turns since throughout the world. This first elaborate technological phantasmagoria during a residence of artist to the Museum of contemporary art results from the crossing of two ways of exploration: that which corresponds to the `first theater' of Maeterlinck with the setting in scene of Intérieur to the green Curtain (2001); a second sees more radical which develops an approach of the video `with the service of the character' started with the last three days of Fernand Pessoa (1997) - a scenic adaptation according to the account of Antonio Tabucchi played in several centers of art and European festivals: Roma-Europa, Spielart of Munich, Festwochen of Berlin, Gulbenkian Foundation of Lisbon and the Theater from the City in Paris. Within the framework of Lille 2004 cultural capital, two new installations come thereafter to supplement the cycle of technological phantasmagorias: Comedy of Samuel Beckett and Sleep my small child of Jon Fosse. Parallel to this triptych, it conceives and carries out with the Horse-gear of Mons in Belgium an adaptation of the news the black Monk of Tchékhov in a translation of Andre Markowicz and Francoise Morvan. For this spectacle presented to the international Crossroads of Quebec, Denis Marleau carries out a scenography made up of multiple screens on which the images of Stéphanie Jasmin are projected, codirectrice of UBU since 2002 and which collaborated like vidéaste in its more recent creations among which In the middle of the Rose (2001) of Pierre Perreault and the Queens (2006) of Norman Chaurette.

Teaching

Denis Marleau taught with the College Jean-at-Brébeuf (1983-85) and the University Moncton (1990). He regularly directs training courses to France, Belgium, Italy and Switzerland: School of the Masters/Liege-Limoges-Rome; CIFAS/Bruxelles; Manufacture, HETSR/Lausanne. At the National center of Arts in Ottawa, it set up the Laboratories of the French Theater which accommodated like trainer: Wajdi Mouawad, Stuart Seide, Andre Markowicz, Alain Françon, Daniel Danis, Norman Chaurette, Brigitte Haentjens, Galin Stoev.

Creations and diffusions - season 2007/2008

April - the Blind men , Time festival, Ghent, Belgium
June - diffusion in first North-American of the technological Triptych with Sleep my small child , Comédie and the Blind men ; Festival Trans Americas in Montreal
June - put in scene of the Château of Bore-blue of Bartok to the Large Theater of Geneva Bleated.
October/November - creation Othello of Shakespeare at the National center of Arts and the Factory C
January/February: creation What dies in the last of Norman Chaurette to Space GO and the National center of Arts.

Price and distinctions

Honorary doctor of the University Light - Lyon 2 (2004)
Knight of Arts and the Letters, Ministry for the culture, France (2002);
Price of the National center of Arts of the General governor, Canada (1998);
Knight of the National order of Quebec (1998);
Price of recognition, the Council of arts of Montreal (1996);
Price of the Academy of the Masks, Montreal (1996) (2002);
Price of the Québécois Association of criticisms (1988) (1992) (1993) (1996) (2001) (2002);
Price of the Circle of criticisms of the Capital, Ottawa (1988) (2002) (2004)

External bonds

ubucc.ca

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