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Page name: Je suis Tchekhov, non ce n’est pas ça | Staged-reading relating to The Seagull | Mon, Dec 4, 2023, 7:00 pm | Azrieli Studio | National Arts Centre
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<title>Je suis Tchekhov, non ce n’est pas ça | Staged-reading relating to The Seagull | Mon, Dec 4, 2023, 7:00 pm | Azrieli Studio | National Arts Centre </title>
<meta name="description" content="Last season, theatre director Catherine Vidal was named Artist in residence with the NAC’s French Theatre. Her goal was to construct a scenic and dramaturgical base that would serve a new mounting of The Seagull, Anton Chekhov’s famous play which will be presented next April at the NAC.
In the meantime, she is proposing this staged reading of the fascinating research documents compiled by her dramaturgical collaborator Guillaume Corbeil that helped shed some light on The Seagull. It’s something like an...">
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In the meantime, she is proposing this staged reading of the fascinating research documents compiled by her dramaturgical collaborator Guillaume Corbeil that helped shed some light on The Seagull. It’s something like an... ">
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In the meantime, she is proposing this staged reading of the fascinating research documents compiled by her dramaturgical collaborator Guillaume Corbeil that helped shed some light on The Seagull. It’s something like an... ">
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Catherine Vidal © Frédérique Ménard-Aubin
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<h1 class="xxlong char37">Je suis Tchekhov, non ce n’est pas ça</h1>
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<p class="event_subtitle">Staged-reading relating to The Seagull</p>
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<span class="hide start atc_node notranslate">2023-12-04 19:00</span>
<span class="hide end atc_node notranslate">2023-12-04 21:00</span>
<span class="hide alarm_reminder atc_node notranslate">60</span>
<span class="hide timezone atc_node notranslate">Canada/Eastern</span>
<span class="hide title atc_node notranslate">🎟 NAC: Je suis Tchekhov, non ce n’est pas ça</span>
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<p class="atc_node">Last season, theatre director Catherine Vidal was named Artist in residence with the NAC’s French Theatre. Her goal was to construct a scenic and dramaturgical base that would serve a new mounting of The Seagull, Anton Chekhov’s famous play which will be presented next April at the NAC.
In the meantime, she is proposing this staged reading of the fascinating research documents compiled by her dramaturgical collaborator Guillaume Corbeil that helped shed some light on The...</p>
<p class="atc_node"><a href="https://nac-cna.ca/en/event/35375" class="atc_node">Read more</a> </p>
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<span class="hide location atc_node notranslate">Azrieli Studio,1 Elgin Street,Ottawa,Canada</span>
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Je suis Tchekhov, non ce n’est pas ça
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<p>Born on the desolate shores of the Black Sea, a simple dispensing physician at the outset, umpteenth son of a family sizzling with intense personalities: rarely in the history of literature has a writer’s self-perception been so far removed from his true genius. Despite that incongruity, Russian playwright Anton Pavlovich Chekhov penned <em>Ivanov</em> (1887), <em>The Seagull</em> (1895–96), <em>Uncle Vanya</em> (1897), <em>Three Sisters</em> (1901) and <em>The Cherry Orchard</em> (1904)—five masterpieces that ushered in, at the dawn of the twentieth century, a form of realism with touches of the unfamiliar and strange, interweaving comedy and tragedy in a reflection of the elusive dance of existence.</p>
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<p>Né sur les bords perdus de la mer Noire, simple médecin de dispensaire à ses débuts, énième fils d’une famille comptant de bouillonnantes personnalités : dans l’histoire de la littérature, il est rare qu’un auteur ait une idée de lui-même aussi éloignée de son génie. Cet écart n’a pas empêché le dramaturge russe Anton Pavlovitch Tchekhov de coucher sur le papier <em>Ivanov</em> (1887), <em>La mouette</em> (1895-1896), <em>Oncle Vania</em> (1897), <em>Les trois sœurs </em>(1901) et <em>La cerisaie</em> (1904) : autant de chefs-d’œuvre qui imposent, à l’orée du vingtième siècle, un réalisme troué d’étrangeté, dans lequel le comique cohabite avec le tragique pour recréer la danse insaisissable de l’existence.</p>
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<a href="https://coeurbattant.ca/" title="Catherine Vidal's web https://coeurbattant.ca/">
<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 512 512"><!--!Font Awesome Free 6.7.1 by @fontawesome - https://fontawesome.com License - https://fontawesome.com/license/free Copyright 2024 Fonticons, Inc.--><path d="M352 256c0 22.2-1.2 43.6-3.3 64l-185.3 0c-2.2-20.4-3.3-41.8-3.3-64s1.2-43.6 3.3-64l185.3 0c2.2 20.4 3.3 41.8 3.3 64zm28.8-64l123.1 0c5.3 20.5 8.1 41.9 8.1 64s-2.8 43.5-8.1 64l-123.1 0c2.1-20.6 3.2-42 3.2-64s-1.1-43.4-3.2-64zm112.6-32l-116.7 0c-10-63.9-29.8-117.4-55.3-151.6c78.3 20.7 142 77.5 171.9 151.6zm-149.1 0l-176.6 0c6.1-36.4 15.5-68.6 27-94.7c10.5-23.6 22.2-40.7 33.5-51.5C239.4 3.2 248.7 0 256 0s16.6 3.2 27.8 13.8c11.3 10.8 23 27.9 33.5 51.5c11.6 26 20.9 58.2 27 94.7zm-209 0L18.6 160C48.6 85.9 112.2 29.1 190.6 8.4C165.1 42.6 145.3 96.1 135.3 160zM8.1 192l123.1 0c-2.1 20.6-3.2 42-3.2 64s1.1 43.4 3.2 64L8.1 320C2.8 299.5 0 278.1 0 256s2.8-43.5 8.1-64zM194.7 446.6c-11.6-26-20.9-58.2-27-94.6l176.6 0c-6.1 36.4-15.5 68.6-27 94.6c-10.5 23.6-22.2 40.7-33.5 51.5C272.6 508.8 263.3 512 256 512s-16.6-3.2-27.8-13.8c-11.3-10.8-23-27.9-33.5-51.5zM135.3 352c10 63.9 29.8 117.4 55.3 151.6C112.2 482.9 48.6 426.1 18.6 352l116.7 0zm358.1 0c-30 74.1-93.6 130.9-171.9 151.6c25.5-34.2 45.2-87.7 55.3-151.6l116.7 0z"></path></svg>
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<p><strong>Mountaineer of the human condition</strong></p>
<p>With her company, aptly named Cœur battant (“beating heart”), Catherine Vidal explores the vagaries of the human condition. The choices and actions of members of her species are the basis of her creative process, which translates to the stage as highly physical performance. The stage adaptation (2009) of Agota Kristof’s <em>Le grand cahier (The Notebook)</em> marked the significant start of her practice.</p>
<p>She has collaborated with Quebec author Étienne Lepage on several projects: <em>Robin et Marion</em>, <em>L’idiot</em> (based on the novel by Dostoyevsky) and <em>Le cœur en hiver</em>, a puppet theatre adaptation of Hans Christian Andersen’s <em>The Snow Queen</em> (Louise-Lahaye Prize). Eager to explore major works of contemporary world theatre, she has taken on the writings of Scottish playwright David Harrower (<em>Des couteaux dans les poules [Knives in Hens]</em>, for which she received the 2013 award for best direction in Montréal from the Association québécoise des critiques de théâtre), Austrian Thomas Bernhard (<em>Avant la retraite [Eve of Retirement]</em>), Norwegian Arne Lygre (<em>Je disparais [I Disappear]</em>), Italian Stefano Massini (<em>Chapitres de la chute – Saga des Lehman brothers [The Lehman Trilogy]</em>, co-directed with Marc Beaupré), Italian Carlo Goldoni (<em>Les amoureux [The Lovers]</em>), and American Katori Hall (<em>Au sommet de la montagne [The Mountaintop]</em>).</p>
<p>
In 2016, she was the second recipient of the Jean-Pierre Ronfard Scholarship and, in 2020, the inaugural recipient of the Josette-Marchessault Prize, which recognizes the contribution of women theatre artists. She is also a professor at the Conservatoire d’art dramatique de Montréal.</p>
<p><strong>Productions directed by Catherine Vidal and presented at the NAC:</strong></p>
<ul>
<li>November 2017: <em>Je disparais</em>, by Arne Lygre</li>
<li>January 2016: <em>Le cœur en hiver</em>, by Étienne Lepage, adapted from Hans Christian Andersen’s <em>The Snow Queen</em></li>
<li>March 2015: <em>S’appartenir (e)</em>, an all-female theatrical and literary event</li>
<li>December 2012: <em>Le grand cahier (The Notebook)</em>, adapted from the novel by Agota Kristof</li>
</ul>
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<p><strong>Alpiniste de la condition humaine</strong></p>
<p>Catherine Vidal explore tous les aléas de la condition humaine au sein de sa compagnie, la bien-nommée Cœur battant. Les choix et les actions des représentants de son espèce sont le fondement de sa réflexion, qui, une fois sur scène, s’incarne dans un jeu physique marqué. L’adaptation théâtrale de l’œuvre <em>Le grand cahier</em> d’Agota Kristof, en 2009, marque d’une pierre blanche les débuts de sa pratique. </p>
<p>Elle collabore à plusieurs reprises avec l’auteur québécois Étienne Lepage : <em>Robin et Marion</em>, <em>L’idiot</em> d’après le roman de Dostoïevski et Le cœur en hiver, adaptation pour le théâtre de marionnettes du conte <em>La reine des neiges</em> d’Andersen (prix Louise-Lahaye). Avide de grands textes du théâtre contemporain mondial, elle se frotte aux écrits de l’Écossais David Harrower (<em>Des couteaux dans les poules</em>, production pour laquelle elle reçoit le prix de l’Association québécoise des critiques de théâtre 2013 de la meilleure mise en scène à Montréal), de l’Autrichien Thomas Bernhard (<em>Avant la retraite</em>), du Norvégien Arne Lygre (<em>Je disparais</em>), de l’Italien Stefano Massini (<em>Chapitres de la chute – Saga des Lehman brothers</em>, dont elle cosigne la mise en scène avec Marc Beaupré), de l’Italien Carlo Goldoni (<em>Les amoureux</em>), de l’Américaine Katori Hall (<em>Au sommet de la montagne</em>).</p>
<p>En 2016, elle est la deuxième récipiendaire de la bourse Jean-Pierre Ronfard et, en 2020, la première lauréate du prix Josette-Marchessault, visant à souligner l’apport des femmes artistes du milieu théâtral. Elle est aussi professeure au Conservatoire d’art dramatique de Montréal. </p>
<p><strong>Les mises en scène de Catherine Vidal présentées au CNA :</strong></p>
<ul>
<li>Novembre 2017 : <em>Je disparais</em>, d’Arne Lygre</li>
<li>Janvier 2016 : <em>Le cœur en hiver</em>, d’Étienne Lepage, adaptation du conte <em>La reine des neiges</em> d’Hans Christian Andersen </li>
<li>Mars 2015 : <em>S’appartenir (e)</em>, événement théâtro-littéraire au féminin</li>
<li>Décembre 2012 : <em>Le grand cahier</em>, adaptation du roman d’Agota Kristof</li>
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<p>Last season, theatre director Catherine Vidal was named Artist in residence with the NAC’s French Theatre. Her goal was to construct a scenic and dramaturgical base that would serve a new mounting of <a href="/fr/event/33683"><em>The Seagull</em></a>, Anton Chekhov’s famous play which will be presented next April at the NAC. </p>
<p>In the meantime, she is proposing this staged reading of the fascinating research documents compiled by her dramaturgical collaborator Guillaume Corbeil that helped shed some light on <em>The Seagull</em>. It’s something like an investigation into the origins, the themes as well the artistic and political breadth of the play. </p>
<p>On the menu for this journey across Chekhov’s works: his remarkable short stories, his correspondence relating to the creation of <em>The Seagull</em>, his encounter with the inspiration for the Nina character, Lydia Mizinova, his thoughts regarding the act of writing, and his letters to his last wife (the actress Olga Knipper). </p>
<p>Chekhov’s home was always full of guests. His warmth and tremendous life force manifest themselves through his sense of hospitality and celebration. It is in this spirit that the creative team aims to welcome audiences to this event! </p>
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<h3 class="podcast_episode_title">Portrait de Catherine Vidal, artiste en résidence</h3>
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<a href="https://nac-cna.ca/en/stories/story/catherine-vidal-et-la-creation-de-la-mouette" title="Catherine Vidal on the creation of La mouette (The Seagull)">
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<h3>Catherine Vidal on the creation of La mouette (The Seagull)</h3>
<p class="post_copy">
<span class="post_copy---date">November 6, 2023</span>
Dear friends of French Theatre,
So many things have been considered, put in place and tried out for the production of La mouette (The Seagull) since I wrote to you last January that this brief letter won’t be enough to cover them all. (By the way, in order to make the best use of the space, I’m writing this on my computer rather than by hand as I did the first time!)
That said, here are a few highlights of what we’ve achieved:
There have
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<a href="https://nac-cna.ca/en/stories/story/catherine-vidal-artiste-en-residence" title="A letter from Catherine Vidal, artist in residence">
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<h3>A letter from Catherine Vidal, artist in residence</h3>
<p class="post_copy">
<span class="post_copy---date">January 29, 2023</span>
Dear friends of French Theatre,
My name is Catherine Vidal and I’m a director. At the invitation of the NAC’s new artistic director, Mani Soleymanlou, I’ll be the NAC French Theatre artist in residence this season and next. Is it because I’ve been inspired by my reading of Anton Chekhov’s 19th-century correspondence that I haven’t used email to communicate with you? Perhaps. You may also notice that I’ve put aside the keyboard and chosen to write to you in pencil. It’s
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This event ended on: <strong>Dec 4, 2023</strong>
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<h2>Artists</h2>
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<p>Born on the desolate shores of the Black Sea, a simple dispensing physician at the outset, umpteenth son of a family sizzling with intense personalities: rarely in the history of literature has a writer’s self-perception been so far removed from his true genius. Despite that incongruity, Russian playwright Anton Pavlovich Chekhov penned <em>Ivanov</em> (1887), <em>The Seagull</em> (1895–96), <em>Uncle Vanya</em> (1897), <em>Three Sisters</em> (1901) and <em>The Cherry Orchard</em> (1904)—five masterpieces that ushered in, at the dawn of the twentieth century, a form of realism with touches of the unfamiliar and strange, interweaving comedy and tragedy in a reflection of the elusive dance of existence.</p>
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<p>Né sur les bords perdus de la mer Noire, simple médecin de dispensaire à ses débuts, énième fils d’une famille comptant de bouillonnantes personnalités : dans l’histoire de la littérature, il est rare qu’un auteur ait une idée de lui-même aussi éloignée de son génie. Cet écart n’a pas empêché le dramaturge russe Anton Pavlovitch Tchekhov de coucher sur le papier <em>Ivanov</em> (1887), <em>La mouette</em> (1895-1896), <em>Oncle Vania</em> (1897), <em>Les trois sœurs </em>(1901) et <em>La cerisaie</em> (1904) : autant de chefs-d’œuvre qui imposent, à l’orée du vingtième siècle, un réalisme troué d’étrangeté, dans lequel le comique cohabite avec le tragique pour recréer la danse insaisissable de l’existence.</p>
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Catherine Vidal
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Catherine Vidal
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<p><strong>Mountaineer of the human condition</strong></p>
<p>With her company, aptly named Cœur battant (“beating heart”), Catherine Vidal explores the vagaries of the human condition. The choices and actions of members of her species are the basis of her creative process, which translates to the stage as highly physical performance. The stage adaptation (2009) of Agota Kristof’s <em>Le grand cahier (The Notebook)</em> marked the significant start of her practice.</p>
<p>She has collaborated with Quebec author Étienne Lepage on several projects: <em>Robin et Marion</em>, <em>L’idiot</em> (based on the novel by Dostoyevsky) and <em>Le cœur en hiver</em>, a puppet theatre adaptation of Hans Christian Andersen’s <em>The Snow Queen</em> (Louise-Lahaye Prize). Eager to explore major works of contemporary world theatre, she has taken on the writings of Scottish playwright David Harrower (<em>Des couteaux dans les poules [Knives in Hens]</em>, for which she received the 2013 award for best direction in Montréal from the Association québécoise des critiques de théâtre), Austrian Thomas Bernhard (<em>Avant la retraite [Eve of Retirement]</em>), Norwegian Arne Lygre (<em>Je disparais [I Disappear]</em>), Italian Stefano Massini (<em>Chapitres de la chute – Saga des Lehman brothers [The Lehman Trilogy]</em>, co-directed with Marc Beaupré), Italian Carlo Goldoni (<em>Les amoureux [The Lovers]</em>), and American Katori Hall (<em>Au sommet de la montagne [The Mountaintop]</em>).</p>
<p>
In 2016, she was the second recipient of the Jean-Pierre Ronfard Scholarship and, in 2020, the inaugural recipient of the Josette-Marchessault Prize, which recognizes the contribution of women theatre artists. She is also a professor at the Conservatoire d’art dramatique de Montréal.</p>
<p><strong>Productions directed by Catherine Vidal and presented at the NAC:</strong></p>
<ul>
<li>November 2017: <em>Je disparais</em>, by Arne Lygre</li>
<li>January 2016: <em>Le cœur en hiver</em>, by Étienne Lepage, adapted from Hans Christian Andersen’s <em>The Snow Queen</em></li>
<li>March 2015: <em>S’appartenir (e)</em>, an all-female theatrical and literary event</li>
<li>December 2012: <em>Le grand cahier (The Notebook)</em>, adapted from the novel by Agota Kristof</li>
</ul>
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<div class="bio_desc_fr">
<p><strong>Alpiniste de la condition humaine</strong></p>
<p>Catherine Vidal explore tous les aléas de la condition humaine au sein de sa compagnie, la bien-nommée Cœur battant. Les choix et les actions des représentants de son espèce sont le fondement de sa réflexion, qui, une fois sur scène, s’incarne dans un jeu physique marqué. L’adaptation théâtrale de l’œuvre <em>Le grand cahier</em> d’Agota Kristof, en 2009, marque d’une pierre blanche les débuts de sa pratique. </p>
<p>Elle collabore à plusieurs reprises avec l’auteur québécois Étienne Lepage : <em>Robin et Marion</em>, <em>L’idiot</em> d’après le roman de Dostoïevski et Le cœur en hiver, adaptation pour le théâtre de marionnettes du conte <em>La reine des neiges</em> d’Andersen (prix Louise-Lahaye). Avide de grands textes du théâtre contemporain mondial, elle se frotte aux écrits de l’Écossais David Harrower (<em>Des couteaux dans les poules</em>, production pour laquelle elle reçoit le prix de l’Association québécoise des critiques de théâtre 2013 de la meilleure mise en scène à Montréal), de l’Autrichien Thomas Bernhard (<em>Avant la retraite</em>), du Norvégien Arne Lygre (<em>Je disparais</em>), de l’Italien Stefano Massini (<em>Chapitres de la chute – Saga des Lehman brothers</em>, dont elle cosigne la mise en scène avec Marc Beaupré), de l’Italien Carlo Goldoni (<em>Les amoureux</em>), de l’Américaine Katori Hall (<em>Au sommet de la montagne</em>).</p>
<p>En 2016, elle est la deuxième récipiendaire de la bourse Jean-Pierre Ronfard et, en 2020, la première lauréate du prix Josette-Marchessault, visant à souligner l’apport des femmes artistes du milieu théâtral. Elle est aussi professeure au Conservatoire d’art dramatique de Montréal. </p>
<p><strong>Les mises en scène de Catherine Vidal présentées au CNA :</strong></p>
<ul>
<li>Novembre 2017 : <em>Je disparais</em>, d’Arne Lygre</li>
<li>Janvier 2016 : <em>Le cœur en hiver</em>, d’Étienne Lepage, adaptation du conte <em>La reine des neiges</em> d’Hans Christian Andersen </li>
<li>Mars 2015 : <em>S’appartenir (e)</em>, événement théâtro-littéraire au féminin</li>
<li>Décembre 2012 : <em>Le grand cahier</em>, adaptation du roman d’Agota Kristof</li>
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Les Charbonniers de l'enfer
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The F-I FI, N-I NI show
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Oct 1, 2026 - 8 PM EDT
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<img loading="lazy" fetchpriority="low" decoding="async" src="https://naccnaca-eventimages.s3.amazonaws.com/40436/tfcna2627_jecomprends_1920x1080__222.jpg" srcset="https://naccnaca-eventimages.s3.amazonaws.com/40436/tfcna2627_jecomprends_1920x1080__222.jpg 222w, https://naccnaca-eventimages.s3.amazonaws.com/40436/tfcna2627_jecomprends_1920x1080__small.jpg 480w, https://naccnaca-eventimages.s3.amazonaws.com/40436/tfcna2627_jecomprends_1920x1080__event_768.jpg 768w, https://naccnaca-eventimages.s3.amazonaws.com/40436/tfcna2627_jecomprends_1920x1080__large.jpg 655w,https://naccnaca-eventimages.s3.amazonaws.com/40436/tfcna2627_jecomprends_1920x1080__event_1024.jpg 1024w, https://naccnaca-eventimages.s3.amazonaws.com/40436/tfcna2627_jecomprends_1920x1080__event_1440.jpg 1440w" sizes="(max-width: 980px) 60vw, 300px" alt="Three red rectangles of different sizes stacked vertically. © Paprika ">
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Francophone
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Hip-hop
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<a href="/en/event/40436" class="event-slick---link eventcard_link eventthumb--trigger" title="Je comprends. Respect. " data-eventtitle="TF 26-27 - Je comprends. Respect" data-eventid="40436" data-listtype="slick" data-status="open" data-language="en">
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Je comprends. Respect.
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A theatrical hip-hop battle
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Dec 3
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- 5, 2026
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<img loading="lazy" fetchpriority="low" decoding="async" src="https://naccnaca-eventimages.s3.amazonaws.com/40437/tfcna2627_jesuiswilliam_1920x1080__222.jpg" srcset="https://naccnaca-eventimages.s3.amazonaws.com/40437/tfcna2627_jesuiswilliam_1920x1080__222.jpg 222w, https://naccnaca-eventimages.s3.amazonaws.com/40437/tfcna2627_jesuiswilliam_1920x1080__small.jpg 480w, https://naccnaca-eventimages.s3.amazonaws.com/40437/tfcna2627_jesuiswilliam_1920x1080__event_768.jpg 768w, https://naccnaca-eventimages.s3.amazonaws.com/40437/tfcna2627_jesuiswilliam_1920x1080__large.jpg 655w,https://naccnaca-eventimages.s3.amazonaws.com/40437/tfcna2627_jesuiswilliam_1920x1080__event_1024.jpg 1024w, https://naccnaca-eventimages.s3.amazonaws.com/40437/tfcna2627_jesuiswilliam_1920x1080__event_1440.jpg 1440w" sizes="(max-width: 980px) 60vw, 300px" alt="Abstract mauve graphic shape with a central pedestal-shaped cutout. © Paprika ">
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Francophone
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Family
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Je suis William
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An unruly Elizabethan musical theatre piece
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Dec 19
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- 20, 2026
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<img loading="lazy" fetchpriority="low" decoding="async" src="https://naccnaca-eventimages.s3.amazonaws.com/41188/252_epelletier_kleztory__dsc8491_copy_(1)__222.jpg" srcset="https://naccnaca-eventimages.s3.amazonaws.com/41188/252_epelletier_kleztory__dsc8491_copy_(1)__222.jpg 222w, https://naccnaca-eventimages.s3.amazonaws.com/41188/252_epelletier_kleztory__dsc8491_copy_(1)__small.jpg 480w, https://naccnaca-eventimages.s3.amazonaws.com/41188/252_epelletier_kleztory__dsc8491_copy_(1)__event_768.jpg 768w, https://naccnaca-eventimages.s3.amazonaws.com/41188/252_epelletier_kleztory__dsc8491_copy_(1)__large.jpg 655w,https://naccnaca-eventimages.s3.amazonaws.com/41188/252_epelletier_kleztory__dsc8491_copy_(1)__event_1024.jpg 1024w, https://naccnaca-eventimages.s3.amazonaws.com/41188/252_epelletier_kleztory__dsc8491_copy_(1)__event_1440.jpg 1440w" sizes="(max-width: 980px) 60vw, 300px" alt="Six musicians pose on a stage with instruments including a clarinet, accordion, guitar, violin, and double bass. ">
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Francophone
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Folk
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Kleztory
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Oct 3, 2026 - 7:30 PM EDT
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<option></option>
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<option value="Français">
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</div>
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<label for="g-recaptcha-response" class="_form-label">
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<div class="g-recaptcha" data-sitekey="6LcwIw8TAAAAACP1ysM08EhCgzd6q5JAOUR1a0Go" id="recaptcha_0">
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<script src="https://naccna.prospect2.com/f/embed.php?id=10" type="text/javascript" charset="utf-8"></script>
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</div>
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<script type="text/javascript" charset="utf-8" defer="">
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<section class="feedback_widget dark hide-on-print">
<div class="row">
<div class="columns">
<a href="#" data-reveal-id="feedbackModal" class="bttn black animate-element">
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</a>
</div>
</div>
</section>
<div id="feedbackModal" class="reveal-modal dark" data-reveal="" aria-labelledby="modalTitle" aria-hidden="true" role="dialog">
<iframe id="JotFormIFrame-232844652478264" title="Web feedback form" allowtransparency="true" allowfullscreen="true" allow="geolocation" src="https://naccna.jotform.com/232844652478264?language=en-CA&dropdown=hidden&typeA27=event&typeA26=theatrefrancais&isIframeEmbed=1" frameborder="0" style="min-width:100%;max-width:100%;height:539px;border:none;" scrolling="no">
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