Mireille Camier / Ricard Soler Mallol



  • "Jour de fête" 15$
  • Bilingual surtitles

10 years of age and older

*April 10th at 5:30 PM, will be the company's fundraising show.

*Talk back with the audience on April 5 and 9, after the show.

Intersections is a project that brings together five artists in five different cities telepresence. These five protagonists have lived through major social movements in their respective cities, and experienced important citizen movements in their city: the green revolution (Tehran, 2009), the Tunisian Revolution (Tunis, 2011), the Iindignados (Barcelona, 2011) and the “Maple Spring” (Montréal 2012). The performance is a direct window on our world, questioning our era and our desire for revolution.

Have you ever had a feeling of rebellion?

Inspired by the performers’ personal experiences who allow us to live their stories questioning the past, present and future. The piece is a poetic exploration of their dreams, hopes and disappointments, all connected with their desire for revolution. What can a shared theatrical event mean for different audiences separated by thousands of kilometers on four continents?

A coproduction of Productions Quitte ou Double, Compagnie Obskéné and GREC festival of Barcelone. This project has received the support of la Commission internationale du théâtre francophone, La Serre - arts vivants, ZH festival, OFFTA, MediaLab del Estruch, Productions Recto-Verso, Centre Culturel Artisto de Tunis, Maison de la culture Villeray–Saint-Michel–Parc-Extension, la Maison de la culture du Plateau Mont-Royal and La Chapelle Scènes Contemporaines.





After studying in dramaturgy and directstaging at Laval University in Québec City and UNICEN in Argentina, Mireille studied acting at the Superior School of Theater of of University of Quebec in Montréal l’(UQAM). As a director, she produced Marius von Mayenburg’s The Dog, the Knife and the Night of Marius von Mayenburg, in February 2012. With this production she grew great , which prompted a marked interest about the German dramaturgy. So, last year, she directed Roland Schimmelpfennig’s The Golden Dragon of Roland Schimmelpfennig at the Théâtre Prospéro. In 2015, she staged directed an adaptation of Donizetti's opera La Fille du Régiment opera in London, ON. In March 2017, she presented Ivresse at La Chapelle, a work that stands out and redefines a remarkable work that redefined her relationship with the audience. In 2016, Mireille Camier was awarded the J.-B.-C. Watkins’ grant by the Canada Council for the Arts for her professional development project with renowned author and director Falk Richter in Frankfurt, Germany. She is currently an artist-in-residence to develop research in theatre and teleconferencingpresence at the Société des Arts Technologiques.

Ricard Soler Mallol is a director and dramaturge who was born in Barcelona. He obtained his Master’s distinction from the Université du Québec à Montréal. He also holds a degree in Directing and Dramaturgy from the Theatre Institute of Barcelona and in Mathematics and Telecommunications Engineering from the Polytechnic University of Catalonia. Ricard is a musician, having graduated from the Barcelona Conservatory of Music.

Founding member of the theatre company Obskené, he has created over fifteen shows that combine theatre, street arts, music and circus. He believes in the enrichment of artistic creation through the displacement, adaptation, contrast, understanding, acceptance and difference that arise from bringing together creators of different backgrounds. An important part of his artistic process is focused on the audience’s role in the work itself.

Some of his most recent productions include: Cidades, a circus performance by graduates of the Rogelio Rivel Circus School (2016); Les clinck, a show for young audiences by the Les Bianchis theatre company (2018); Alpenstock, a farcical play on the extreme right created at the Tantaranta Theatre (2017); Nafrat, an experiential show about the refugee journey to Fira Tarrega (2017) ; Drapetomania, an eletronic music concert by Filastine & Nova (2017);  Manifesta, a large-scale street show written by Jean-Frédéric Messier that fuses circus, theatre and electronic music, presented at the Firatàrrega Festival and at the MAC Festival in Barcelona (2016); City of Glass, an adaptation of the work of Paul Auster which depicts the language of the comic strip, presented at the Barcelona Grec Festival (2016); Plácido Mo #Terrassa, an ambulatory documentary theatre project on homelessness, presented at the Festival TNT in Terrassa; Oedipus Rex, an immersive and experiential show without actors and where the audience plays the main role (2015); Fuenteovejuna, breve tratado sobre las ovejas domésticas, a 360-degree staging of the Lope de Vega classic that won several awards.

We propose a scenic writing that brings together telepresence and the stage. To be done, the show is not only presented using the Internet but created by Internet. This allows us to explore our way of communicating, transmitting an emotion, composing scenic images keeping in mind the physical distance that separates us. This virtual meeting wants to reveal what already exists in the global world: if one is able to create new relations with kilometres of distance, why not create in the same way? If we can learn about the social and economic initiatives of other cities, why not share artistic and creative approaches from different contexts to create a show remotely? We focus on interactivity, immediacy and performance. For this, the performers interact live, not only with the other artists on stage, but also by including the audience in the performance.


The theater company, Les Productions Quitte ou Double, gives particular attention to the exploration of space and the relationship with the audience. Productions Quitte or Double offers shows by authors with a contemporary and eclectic dramaturgy, while carrying issues that have a strong resonance in our time. Through its projects, the company creates a different and all-encompassing meeting with the public, in order to put forward the experience, the present moment and the representation. In a way, it wants to take the spectator out of his role of simple observer so that he is at the heart of the conversation between stage and room.

The company Obskené was founded in 2008 with the desire to propose innovative projects: we base our creation on the exploration of the various disciplines of performing arts. We escape the primacy of the text, the actor or the director, to understand the arts of the show as a real teamwork since the beginning of the creative process where everyone works from his specialty to the collective. Our bet is to approach the contemporary scenic creation with the idea of continuing constantly to experiment.

Obskené refers to obscene, a word that in its Greek root means outside (ob-) of the (-scé) scene. The company Obskené wants to show on stage what has hitherto been hidden behind the backdrop.

Obskené has presented more than a dozen shows. In 2013, the Obskené Accent cycle was presented in the Sala Beckett. In 2015, she was a resident company of Fabra and Coats Creation Factory, in 2016 at Sala Beckett and in 2017 she entered the independent cycle of Tantarantana Theater.

Director and Dramaturg
  • Mireille Camier & Ricard Soler Mallol
Set design
  • Cassandre Chatonnier
  • Jean-François Boisvenue
  • David Teixido (Barcelone), Ons Trabelsi (Tunis), Rambod Vala (Téhéran), Jean-François Boisvenue (Montréal), Yu Yen-Fang (Taipei).
Light Design
  • Catherine Fournier-Poirier
Sound Design
  • Ariane Lamarre
  • Productions Quitte ou Double, Compagnie Obskéné, Festival GREC (Barcelone)