Photo: Valérie Remise
The text combines monologues of Emma, of the scenes with his family and the other where the external characters comment on his life.
Who has never had the desire to abandon everything to start fresh ? How to resist the daily pressure to be what is expected of us and suppress the desires of the leak ? Inspired by a social phenomenon that sees 100 000 Japanese people disappear voluntarily each year, Rébecca Déraspe delves into these issues with its new creation, Those who are evaporated.
At the heart of the room is Emma, a woman in the banal story, but struggling to balance all his roles : nurse, mother, wife, daughter, friend… inside, the tears that she represses the ” eat one centimeter per year “, and it is taken with an impulse deep of disappearance. The language of Déraspe, made up of verbs in the infinitive, phrases, declarative, where the names are verbs (” I have sex, I have sensuality, I compote “, etc) or a repeated use of the conditional, open to multiple potentialities that it contains every human.
The text combines monologues of Emma, of the scenes with his family and the other where the external characters comment on his life, trying to find the young woman and explain the causes of its disappearance. Here and there, other scenes seem to be drawn to a support group for people who have tried to disappear at one time or another in their lives (Elizabeth Chouvalidzé, Maxime Robin and Tatiana Zinga Botao embody these multiple characters). Thus, Déraspe alternates between the universal and the particular, opening the possibility that the story of Emma is also that of all the others.
To illustrate this interplay between the registers, the stage space and lighting designed by Cédric Delorme-Bouchard recall the rooms anonymous where the support groups are found to be easily a bedroom, a dining room, or by moving the table and a few chairs ; the story of Emma is nowhere and is everywhere at the same time, it concerns all of us (the lights are to be elevated, oscillating between the full fire that illuminates the spectators and the shower, which isolates momentarily a character). Two of the four walls of the bleachers, reducing the game space in a corner of the room, as if to accentuate the feeling of confinement mind, which weighs about Emma and the others.
The scenes where the parents and the spouse of Emma react to her disappearance, if they appear to be more expected than those in which the woman expresses her dilemmas interiors (despite all the intensity they put Josée Deschênes, Vincent Graton and Reda Guerinik), are used primarily to prepare the ground for the extraordinary finale, where Nina, now a young adult, reviews, and his mother for the first time.
Orchestrated by Sylvain Bélanger with care, the piece culminates in the duo of actors composed of Geneviève Boivin-Roussy (Emma), who has never left the scene, and Eleonore Loiselle (Nina). The first, almost completely silent, has in his body the blows struck by the words of his daughter (” I fucking wasn’t having any trouble with the fucking silence of the fucking life “, said Nina), while on the face of it, the second takes the stage to express his rage, but also his guilt and his tenderness. Together, they expand the scope of the text ripping of Rébecca Déraspe, which accepts that there are “no answers, just assumptions” to explain the other and his actions. It is still too low, but it is already a lot.
Those which are evaporated
Text : Rébecca Déraspe. Directed by : Sylvain Bélanger. At the Centre of the Theatre of today, until the 28th of march.