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Dossier De Presse Dossier de presse UNE PIÈCE DE PRÉSENTÉ PAR MISE EN SCÈNE DE MOLIÈRE JOËL BEDDOWS OMMUNIQUÉ DE PRESSE C .COM JOSEE@DURANLEAU OSÉE DURANLEAU | 416- 652 -7672 | U 19 AVRIL AU 28 MAI 2017 CONTACT MEDIA : J POUR DIFFUSION IMMÉDIATE : D Toronto (ON) – Du 10 au 28 mai 2017, le Théâtre français de Toronto présente Dom Juan ; le classique de Molière, mis en scène par Joël Beddows et présenté au Berkeley Street Theatre avec surtitres en anglais les mercredis, vendredis et samedis. La représentation du 25 mai est présentée dans le cadre de la Grande Soirée Bénéfice qui se conclura par une réception à la Galerie Thompson Landry. Libertin révolté. Coureur de jupon invétéré. Dom Juan ne veut pas être un fils. Il ne veut pas être un époux. Il ne veut pas être un maître. Il ne veut pas être hypocrite. Dom Juan veut être libre de séduire les femmes sans relâche et surtout – sans limites, sans se soucier des répercussions. Mais peut-on vraiment enchaîner les conquêtes et les fuites sans jamais avoir à payer le lourd prix du jugement ? Irrévérencieux et sulfureux, ce spectacle est porté par les talentueux Pierre Simpson, Marcelo Arroyo, Lina Blais, Sophie Goulet, Christian Laurin et Nicolas Van Burek. Les décors sont signés Melanie McNeill ; les éclairages, Michael Brunet ; les costumes, Nina Okens ; et l’environnement sonore, Venessa Lachance. Œuvre classique, la pièce est toujours aussi contemporaine dans son exploration d’utopies impossible : le plaisir absolu et la jouissance immédiate dénuée d’obligation morale. Incarnant peut-être à lui seul des désirs universels — des désirs refoulés — Dom Juan demeure un personnage complexe et ambigu qui manipule son univers sans éprouver de remords, en particulier à l’égard de son valet Sganarelle avec qui la relation de dominance mais aussi d’admiration reflète notre attirance envers les absolutistes. Troublant les pistes de ce jeu carnavalesque, le metteur en scène Joël Beddows nous plonge dans un univers à la croisée de la comédie loufoque, du libertinage et de la quête d’une figure plus mythique qu’humaine et réalise ainsi une mise en abîme de notre société à travers les âges — posant la question : qui est le plus coupable ? Le tyran ou son admirateur ? Le TfT remercie Via Rail Canada (commanditaire de saison du TfT) ; TD Bank Group (commanditaire du surtitrage) ; TFO (commanditaire de spectacle) ; Collège Boréal et La Cité collégiale (matinées scolaires) ; nos parrains et marraine : Pierre Karch, Mariel O’Neill-Karch et Ann Atkinson. DOM JUAN Une production du Théâtre français de Toronto Texte de Molière | Mise en scène de Joël Beddows | Environnement sonore de Venessa Lachance | Costumes de Nina Okens | Éclairages de Michael Brunet | Décors de Melanie McNeill Mettant en vedette Pierre Simpson, Marcelo Arroyo, Lina Blais, Sophie Goulet, Christian Laurin et Nicolas Van Burek En français (avec surtitres en anglais) : Du 10 au 28 mai 2017 avec surtitres les mercredis, vendredis et samedis Berkeley St. Theatre (Upstairs) | 26, rue Berkeley, Toronto Première : vendredi 12 mai à 20 h | Grande soirée bénéfice (125 $) : jeudi 25 mai à 19 h Tarifs : Régulier : 26 $ - 49 $ | Âge d’or : 26 $ - 42 $ | Moins de 30 ans & Artistes : 19 $ - 30 $ | Payez ce que vous pouvez les mercredis et jeudis | Samedi dernière minute : 20 $ à la porte | Tarif de groupe pour 8 ou plus : 25 $ par billet Billetterie : 416.534.6604 ou www.theatrefrancais.com MOT DU METTEUR EN SCÈNE En 1998, j’ai eu le plaisir de mettre en scène une nouvelle adaptation du mythe faustien signée Richard J. Léger au Théâtre la Catapulte d’Ottawa. Je me rappelle bien de ma fascination pour un personnage dont la quête pour un savoir sans limite et sans contrainte dissimulait celle d’égaler, voire de dépasser, le pouvoir divin. Je ne crois pas que ce soit un effet du hasard qu’aujourd’hui, l’année même de mon intégration à la direction artistique du Théâtre français de Toronto, je monte une production de Dom Juan. Au-delà des nombreuses ressemblances entre ces figures mythiques soulignées par les critiques, je pense qu’il y a là une autre trace d’une fascination très personnelle pour la délinquance, la transgression et surtout, l’absolutisme au théâtre. L’appétit sexuel connu de Dom Juan est symptomatique du vrai sujet de la pièce, soit une conception de la “liberté dépourvue de conséquences éthiques et élevée au rang d’un mode de vie. C’est bien un « Dom Juan libertin » qui revendique le droit au plaisir sans être obligé de se soucier des conséquences de ses gestes, sans se préoccuper d’une moralité extérieure à son corps, sans s’intéresser à son avenir ou à celui d’autrui. Je ne crois pas à la psychologie au théâtre et il est donc impossible pour moi d’en parler en tant qu’hédoniste ou nihiliste. Il est plutôt un objet de fascination et un exécutoire qui nous force à réfléchir à la notion et à la fonc- tion de l’interdiction dans une société. D’où mon intérêt marqué pour Sganarelle, fidèle acolyte du personnage éponyme, et l’ambigüité qui carac- térise son rapport à son maître. Certes, il est observateur investi au même titre que nous. Or, il incarne aussi une lassitude (la nôtre ?) créée par la fascination pour ceux et celles qui repoussent toujours les limites du contrat social au nom du plaisir immédiat. C’est en ce sens que je trouve que l’existence de celui qui pêche en premier (Sganarelle qui fait l’apogée du tabac à la première scène) et qui réclame une rente impossible après la disparation de Dom Juan, sert en fin de compte à nous rappeler notre propre désir de vivre par procuration C’est pour cette raison sûrement que je me demande encore et toujours dans quelle mesure Sganarelle est victime ou complice de Dom Juan ; ou encore, victime de sa propre fascination pour un maître de la trans- gression. Après tout, le titillement est addictif, n’est-ce pas ? Joël Beddows Metteur en scène et directeur artistique du TfT SYNOPSIS Libertin révolté. Coureur de jupon invétéré. Dom Juan ne veut pas être un fils. Il ne veut pas être un époux. Il ne veut pas être un maître. Il ne veut pas être hypocrite. Dom Juan veut être libre de séduire les femmes sans relâche et surtout – sans limites, sans se soucier des répercussions. Mais peut-on vraiment enchaîner les conquêtes et les fuites sans jamais avoir à payer le lourd prix du jugement ? Le metteur en scène Joël Beddows nous plonge dans un univers à la croisée de la comédie loufoque, du libertinage et de la quête d’une figure plus humaine que mythique. De Molière Mise en scène de Joël Beddows BIOGRAPHIES Jean-Baptiste Poquelin, dit Molière, naît à Paris en 1622. En 1658, il fait ses débuts devant le roi en jouant Nicomède et Le Dépit amoureux mais c’est la pièce Les Précieuses ridicules (1659) qui lui apporte la célébrité. Molière remporte de nombreux succès en tant qu’auteur, acteur et directeur de troupe. Face à la pression des nobles qui les trouvent scan- daleuses, le roi interdit certaines pièces comme Tartuffe ou Dom Juan malgré le succès qu’elles rencontrent auprès du public. Molière continue cependant de bénéficier de la faveur du roi. Viennent les pièces Le Misanthrope (1666), Le Bourgeois gentilhomme (1670), L’Avare (1668), Les Fourbe- ries de Scapin (1671), Les Femmes savantes (1672), et Molière – auteur d’autres. Épuisé, Molière meurt en 1673 après la quatrième représentation du Malade imaginaire. Metteur en scène et conseiller dramaturgique, Joël Beddows propose depuis bientôt deux décennies des expériences artistiques où se conjuguent symbolisme, poésie et commen- taire social. Que ce soit dans le champ de la création, du répertoire ou du théâtre jeune public, chaque projet est un laboratoire où il cherche à remettre en question les repères et les clichés de notre existence contemporaine, tant réels qu’esthétiques. En témoignent ses mises en scène les plus récentes de Happy Days de Samuel Beckett (2010), à Frères d’hiver de Michel Ouellette (2011), East of Berlin de Hannah Moscovitch (2012), Visage de feu de Marius von Mayenburg (2013), Petites bûches de Jean-Philippe Lehoux (2014) ou encore Un neurinome sur une balançoire d’Alain Joël Beddows – metteur en scène Doom (2015). Après avoir été le Directeur artistique du Théâtre la Catapulte d’Ottawa (1998-2010), il devient le Directeur artistique du Théâtre français de Toronto en 2016. BIOGRAPHIES C’est un honneur pour Pierre de s’attaquer au rôle mythique de Dom Juan. Au TfT, il a joué dans Le Placard, L’Emmer- deur, Le Dîner de cons, Le Misanthrope et Les Médecins de Molière (TfT, Prix Rideau, finaliste Dora) et y a mis en scène Les Zinspirés 1, 2.0, 3D (finalistes Prix Pauline McGibbon et Dora). On a aussi pu le remarquer dans A Midsummer Night’s Dream (Canadian Stage), When it Rains (2b, Edim- bourg, Mumbai), Reign (CW), 12 Monkeys (Syfy), Murdoch Mysteries (CBC), Hannibal (NBC), Le Rêve de Champlain (TFO), Toi & Moi, Motel Monstre (Radio-Canada) et 2h14 (TV5.ca, finaliste Gémeaux). Pierre Simpson – comédien Né au Chili, Marcelo habite au Canada depuis l'âge de 8 ans. Habile tant en français qu’en anglais et en espagnol, il a travaillé avec plusieurs cinéastes et metteurs en scène à Montréal. Titulaire d'un baccalauréat en art dramatique de l'UQàM (Université du Québec à Montréal, 1995), Marcelo a poursuivi ses études à l'École nationale de théâtre du Canada, d’où il obtient son diplôme en interprétation (2000). De 2008 à 2013, il est de la distribution de Tactik, une émission quotidienne populaire à la télévision québé- coise traitant de sujets qui préoccupent les pré-adolescents.
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