*Please note that from 7am to 3pm on Wednesday March 11, Thursday March 12 and Friday march 13, the online box-office might be temporarily unavailable.
As of now, there are still tickets left for every performance. You can buy them after 3pm online or by phone or simply by coming at the box office the night of the show.*
After the show on March, Friday the 13th, there will be a talk-back with the artists.
MAC(DEATH), is the dark plot of Shakespeare with a background of dissonant guitars and heavy percussion. It is an uninhibited celebration, which renews various rituals in loss of popularity. Exploring a new way of bringing this text to the audience, making it resonate strongly with our current society, with this dehumanized humanity confronted with the illusions corrupting of having, knowledge and power. Through a very direct relationship to this rhythmic language and supported by rich melodies, the textual score then becomes a kind of lyric poem, an incantatory account of Macbeth's rise, and especially the fall.
MAC(DEATH) transposes Macbeth's violent and supernatural dramaturgy through the cathartic experience of a Heavy-metal concert.
The intensity and the cathartic side of a metal concert allows the spectators to feel emancipated and free themselves from their frustrations. This is why Jocelyn Pelletier is interested in transposing this experience to theater, with the stated aim of provoking something extremely raw for both actors and the audience. He seeks to activate a presence that is closer to the performative state. The actors of this musical movement adopt marginal and subversive belief systems: they want to express their rejection of conformism, media and political hypocrisy. Often, music and lyrics are meant to evoke feelings of hopelessness, fear and imminent threat. Anchoring Macbeth in this musical culture, using and questioning the various elements of it, creates a fascinating scenic fresco. The artist uses common space, the celebration characteristic to theater, in order to create a surprising sensory research to disrupt the audience's usual experience.
Since graduating from the Quebec Conservatory of Dramatic Arts in 2005, Jocelyn Pelletier has participated in several productions of Théâtre Péril. Actor, author, director, he co-founded the tectoniK_ company. He directed Falk Richter's Electronic City, RADICAL KO and Disappear here, which he wrote and directed with Edith Patenaude. He recently graduated in directing at the National theater School of Canada.
His show From Time and Eternity after Seneca's Phedra was presented at the Trillium Theater in Ottawa in February 2018 and at Usine C in March 2018. He is working on MAC(DEATH) a free adaptation of Shakespeare’s work that favored two public laboratories; OFFTA 2018 and MOIS MULTI 2019 last February in Québec. He recently signed the direction of DÉVORÉ(S) by Jean-Denis Beaudoin at the Périscope theater last October. As well as Les mains d’Edwidge au moment de la naissance de Wajdi Mouawad at La Bordée theater in January 2020.
He explores the different ways that technology, sensorial experiences and contemporary scenic approaches (video, performance, visual arts, sonic arts, etc) can intensify the theatrical experience. He tries tirelessly to blast the traditional form both in form and substance even if he has to radicalize it. Classic yes, but it will be able to resound here and now, so hard that maybe even some people would need to plug their ears and close their eyes.
- Ideation, adaptation of the text, direction and set design
- Jocelyn Pelletier
- Music and performance
- Fanny Migneault-Lecavalier
- Maxim Paré-Fortin
- Guillaume Perreault
- Samuel Bobony
- Érick D'Orion
- Sound design
- Érick D'Orion
- Video, stage management and technical direction
- Louis-Robert Bouchard
- Lighting design
- Martin Sirois
- Kate Lecours
- Dramaturgy help
- Stéphane Lépine
- produced by