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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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                Catherine Vidal © Fr&eacute;d&eacute;rique M&eacute;nard-Aubin
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                    <h1 class="">Je suis Tchekhov, non ce n’est pas ça</h1>
                    <p class="event_subtitle">Staged-reading relating to The Seagull</p>
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                        <span class="hide start">2023-12-04 19:00</span>
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                        <span class="hide title">&#x1F39F; NAC:  Je suis Tchekhov, non ce n’est pas ça</span>
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                          <p>https://nac-cna.ca/en/event/35375</p>
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                          <p>Last season, theatre director Catherine Vidal was named Artist in residence with the NAC&rsquo;s French Theatre. Her goal was to construct a scenic and dramaturgical base that would serve a new mounting of The Seagull, Anton Chekhov&rsquo;s famous play which will be presented next April at the NAC.&nbsp;&nbsp;
                            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>
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                        <span class="hide location">Azrieli Studio,1 Elgin Street,Ottawa,Canada</span>
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                                      Anton Tchekhov
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                                      Anton Tchekhov
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                                        <p>Born on the desolate shores of the Black&nbsp;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&rsquo;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&nbsp;Seagull</em> (1895&ndash;96), <em>Uncle Vanya</em> (1897), <em>Three Sisters</em> (1901) and <em>The&nbsp;Cherry Orchard</em> (1904)&mdash;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>
                                      </div>
                                      <div class="bio_desc_fr">
                                        <p>N&eacute; sur les bords perdus de la mer Noire, simple m&eacute;decin de dispensaire &agrave; ses d&eacute;buts, &eacute;ni&egrave;me fils d&rsquo;une famille comptant de bouillonnantes personnalit&eacute;s&nbsp;: dans l&rsquo;histoire de la litt&eacute;rature, il est rare qu&rsquo;un auteur ait une id&eacute;e de lui-m&ecirc;me aussi &eacute;loign&eacute;e de son g&eacute;nie. Cet &eacute;cart n&rsquo;a pas emp&ecirc;ch&eacute; 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 s&oelig;urs </em>(1901) et <em>La cerisaie</em> (1904)&nbsp;: autant de chefs-d&rsquo;&oelig;uvre qui imposent, &agrave; l&rsquo;or&eacute;e du vingti&egrave;me si&egrave;cle, un r&eacute;alisme trou&eacute; d&rsquo;&eacute;tranget&eacute;, dans lequel le comique cohabite avec le tragique pour recr&eacute;er la danse insaisissable de l&rsquo;existence.</p>
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                                      Catherine Vidal
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                                      Catherine Vidal
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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"/></svg>
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                                        <p><strong>Mountaineer of the human condition</strong></p>
                                        <p>With her company, aptly named C&oelig;ur battant (&ldquo;beating heart&rdquo;), 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&rsquo;s <em>Le grand cahier (The Notebook)</em> marked the significant start of her practice.</p>
                                        <p>She has collaborated with Quebec author &Eacute;tienne Lepage on several projects: <em>Robin et Marion</em>, <em>L&rsquo;idiot</em> (based on the novel by Dostoyevsky) and <em>Le c&oelig;ur en hiver</em>, a puppet theatre adaptation of Hans Christian Andersen&rsquo;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 Montr&eacute;al from the Association qu&eacute;b&eacute;coise des critiques de th&eacute;&acirc;tre), 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 &ndash; Saga des Lehman brothers [The Lehman Trilogy]</em>, co-directed with Marc Beaupr&eacute;), 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&rsquo;art dramatique de Montr&eacute;al.</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 c&oelig;ur en hiver</em>, by &Eacute;tienne Lepage, adapted from Hans Christian Andersen&rsquo;s <em>The Snow Queen</em></li>
                                          <li>March 2015: <em>S&rsquo;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>
                                      </div>
                                      <div class="bio_desc_fr">
                                        <p><strong>Alpiniste de la condition humaine</strong></p>
                                        <p>Catherine Vidal explore tous les al&eacute;as de la condition humaine au sein de sa compagnie, la bien-nomm&eacute;e C&oelig;ur battant. Les choix et les actions des repr&eacute;sentants de son esp&egrave;ce sont le fondement de sa r&eacute;flexion, qui, une fois sur sc&egrave;ne, s&rsquo;incarne dans un jeu physique marqu&eacute;. L&rsquo;adaptation th&eacute;&acirc;trale de l&rsquo;&oelig;uvre <em>Le grand cahier</em> d&rsquo;Agota Kristof, en 2009, marque d&rsquo;une pierre blanche les d&eacute;buts de sa pratique.&nbsp;</p>
                                        <p>Elle collabore &agrave; plusieurs reprises avec l&rsquo;auteur qu&eacute;b&eacute;cois &Eacute;tienne Lepage : <em>Robin et Marion</em>, <em>L&rsquo;idiot</em> d&rsquo;apr&egrave;s le roman de Dosto&iuml;evski et Le c&oelig;ur en hiver, adaptation pour le th&eacute;&acirc;tre de marionnettes du conte <em>La reine des neiges</em> d&rsquo;Andersen (prix Louise-Lahaye). Avide de grands textes du th&eacute;&acirc;tre contemporain mondial, elle se frotte aux &eacute;crits de l&rsquo;&Eacute;cossais David Harrower (<em>Des couteaux dans les poules</em>, production pour laquelle elle re&ccedil;oit le prix de l&rsquo;Association qu&eacute;b&eacute;coise des critiques de th&eacute;&acirc;tre 2013 de la meilleure mise en sc&egrave;ne &agrave; Montr&eacute;al), de l&rsquo;Autrichien Thomas Bernhard (<em>Avant la retraite</em>), du Norv&eacute;gien Arne Lygre (<em>Je disparais</em>), de l&rsquo;Italien Stefano Massini (<em>Chapitres de la chute &ndash; Saga des Lehman brothers</em>, dont elle cosigne la mise en sc&egrave;ne avec Marc Beaupr&eacute;), de l&rsquo;Italien Carlo Goldoni (<em>Les amoureux</em>), de l&rsquo;Am&eacute;ricaine Katori Hall (<em>Au sommet de la montagne</em>).</p>
                                        <p>En 2016, elle est la deuxi&egrave;me r&eacute;cipiendaire de la bourse Jean-Pierre Ronfard et, en 2020, la premi&egrave;re laur&eacute;ate du prix Josette-Marchessault, visant &agrave; souligner l&rsquo;apport des femmes artistes du milieu th&eacute;&acirc;tral. Elle est aussi professeure au Conservatoire d&rsquo;art dramatique de Montr&eacute;al.&nbsp;</p>
                                        <p><strong>Les mises en sc&egrave;ne de Catherine Vidal pr&eacute;sent&eacute;es au CNA :</strong></p>
                                        <ul>
                                          <li>Novembre 2017 : <em>Je disparais</em>, d&rsquo;Arne Lygre</li>
                                          <li>Janvier 2016 : <em>Le c&oelig;ur en hiver</em>, d&rsquo;&Eacute;tienne Lepage, adaptation du conte <em>La reine des neiges</em> d&rsquo;Hans Christian Andersen&nbsp;</li>
                                          <li>Mars 2015 : <em>S&rsquo;appartenir (e)</em>, &eacute;v&eacute;nement th&eacute;&acirc;tro-litt&eacute;raire au f&eacute;minin</li>
                                          <li>D&eacute;cembre 2012 : <em>Le grand cahier</em>, adaptation du roman d&rsquo;Agota Kristof</li>
                                        </ul>
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                                    <h3>NAC media featuring <span>Catherine Vidal </span></h3>
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                                      <li><a href="/en/bio/catherine-vidal/projects"> <i class="fa-solid fa-fw fa-notebook"></i> <span>Projects &amp; initiatives</span></a></li>
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                            &approx; 75 minutes
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                        <p>Last season, theatre director Catherine Vidal was named Artist in residence with the NAC&rsquo;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&rsquo;s famous play which will be presented next April at the NAC.&nbsp;&nbsp;</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&rsquo;s something like an investigation into the origins, the themes as well the artistic and political breadth of the play.&nbsp;&nbsp;</p>
                        <p>On the menu for this journey across Chekhov&rsquo;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).&nbsp;</p>
                        <p>Chekhov&rsquo;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!&nbsp;</p>
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                          <a href="/en/podcasts/episode/portrait-de-catherine-vidal-artiste-en-residence">
                            <h3 class="podcast_episode_title">Portrait de Catherine Vidal, artiste en résidence</h3>
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                            <span class="podcast_date"><i class="fa-light fa-calendar fa-fw"></i> Feb 15, 2023</span>
                            <span class="podcast_language"><i class="fa-light fa-messages fa-fw"></i> Fran&ccedil;ais</span>
                            <span class="podcast_duration"> <i class="fa-light fa-stopwatch fa-fw"></i> 40:28</span>
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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&nbsp;mouette (The Seagull)">
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                                <source srcset="https://naccnaca-stories.s3.amazonaws.com/35433/pour-lettre-2---groupe---img_9776__large.jpg" media="(min-width: 600px)"  alt="The company sitting at a long table with pages during a workshop.">
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                              <h3>Catherine Vidal on the creation of La&nbsp;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&nbsp;mouette (The&nbsp;Seagull) since I wrote to you last January that this brief letter won&rsquo;t be enough to cover them all. (By the way, in order to make the best use of the space, I&rsquo;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&rsquo;ve achieved:
                                There have
                              </p>
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                                <source srcset="https://naccnaca-stories.s3.amazonaws.com/35440/catherinevidal_4sous2023_credit_freYdeYriquemeYnard-aubin--10__large.jpg" media="(min-width: 600px)"  alt="A woman with dark curly hair wearing a blue-green velvet jacket.">
                                <img src="https://naccnaca-stories.s3.amazonaws.com/35440/catherinevidal_4sous2023_credit_freYdeYriquemeYnard-aubin--10__thumb.jpg" alt="A woman with dark curly hair wearing a blue-green velvet jacket.">
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                            <div class="description_inner event_related_item--info">
                              <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&rsquo;m a director. At the invitation of the NAC&rsquo;s new artistic director, Mani Soleymanlou, I&rsquo;ll be the NAC French Theatre artist in residence this season and next. Is it because I&rsquo;ve been inspired by my reading of Anton Chekhov&rsquo;s 19th-century correspondence that I haven&rsquo;t used email to communicate with you? Perhaps. You may also notice that I&rsquo;ve put aside the keyboard and chosen to write to you in pencil. It&rsquo;s
                              </p>
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				data-eventtitle="Anton Tchekhov"
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                            Anton Tchekhov
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                              <p>Born on the desolate shores of the Black&nbsp;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&rsquo;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&nbsp;Seagull</em> (1895&ndash;96), <em>Uncle Vanya</em> (1897), <em>Three Sisters</em> (1901) and <em>The&nbsp;Cherry Orchard</em> (1904)&mdash;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>
                            </div>
                            <div class="bio_desc_fr">
                              <p>N&eacute; sur les bords perdus de la mer Noire, simple m&eacute;decin de dispensaire &agrave; ses d&eacute;buts, &eacute;ni&egrave;me fils d&rsquo;une famille comptant de bouillonnantes personnalit&eacute;s&nbsp;: dans l&rsquo;histoire de la litt&eacute;rature, il est rare qu&rsquo;un auteur ait une id&eacute;e de lui-m&ecirc;me aussi &eacute;loign&eacute;e de son g&eacute;nie. Cet &eacute;cart n&rsquo;a pas emp&ecirc;ch&eacute; 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 s&oelig;urs </em>(1901) et <em>La cerisaie</em> (1904)&nbsp;: autant de chefs-d&rsquo;&oelig;uvre qui imposent, &agrave; l&rsquo;or&eacute;e du vingti&egrave;me si&egrave;cle, un r&eacute;alisme trou&eacute; d&rsquo;&eacute;tranget&eacute;, dans lequel le comique cohabite avec le tragique pour recr&eacute;er la danse insaisissable de l&rsquo;existence.</p>
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				data-eventtitle="Catherine Vidal"
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                          <span class="jobtitle" >Director</span>
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                            Catherine Vidal
                          </span>
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                          <span class="jobtitle">Director</span>
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                            Catherine Vidal
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                        <!--                      BIO SOCIAL                      -->
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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"/></svg>
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                        <!--                      BIO CONTENT                      -->
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                          <div class="bio-description">
                            <div class="bio_desc_en">
                              <p><strong>Mountaineer of the human condition</strong></p>
                              <p>With her company, aptly named C&oelig;ur battant (&ldquo;beating heart&rdquo;), 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&rsquo;s <em>Le grand cahier (The Notebook)</em> marked the significant start of her practice.</p>
                              <p>She has collaborated with Quebec author &Eacute;tienne Lepage on several projects: <em>Robin et Marion</em>, <em>L&rsquo;idiot</em> (based on the novel by Dostoyevsky) and <em>Le c&oelig;ur en hiver</em>, a puppet theatre adaptation of Hans Christian Andersen&rsquo;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 Montr&eacute;al from the Association qu&eacute;b&eacute;coise des critiques de th&eacute;&acirc;tre), 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 &ndash; Saga des Lehman brothers [The Lehman Trilogy]</em>, co-directed with Marc Beaupr&eacute;), 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&rsquo;art dramatique de Montr&eacute;al.</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 c&oelig;ur en hiver</em>, by &Eacute;tienne Lepage, adapted from Hans Christian Andersen&rsquo;s <em>The Snow Queen</em></li>
                                <li>March 2015: <em>S&rsquo;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>
                            </div>
                            <div class="bio_desc_fr">
                              <p><strong>Alpiniste de la condition humaine</strong></p>
                              <p>Catherine Vidal explore tous les al&eacute;as de la condition humaine au sein de sa compagnie, la bien-nomm&eacute;e C&oelig;ur battant. Les choix et les actions des repr&eacute;sentants de son esp&egrave;ce sont le fondement de sa r&eacute;flexion, qui, une fois sur sc&egrave;ne, s&rsquo;incarne dans un jeu physique marqu&eacute;. L&rsquo;adaptation th&eacute;&acirc;trale de l&rsquo;&oelig;uvre <em>Le grand cahier</em> d&rsquo;Agota Kristof, en 2009, marque d&rsquo;une pierre blanche les d&eacute;buts de sa pratique.&nbsp;</p>
                              <p>Elle collabore &agrave; plusieurs reprises avec l&rsquo;auteur qu&eacute;b&eacute;cois &Eacute;tienne Lepage : <em>Robin et Marion</em>, <em>L&rsquo;idiot</em> d&rsquo;apr&egrave;s le roman de Dosto&iuml;evski et Le c&oelig;ur en hiver, adaptation pour le th&eacute;&acirc;tre de marionnettes du conte <em>La reine des neiges</em> d&rsquo;Andersen (prix Louise-Lahaye). Avide de grands textes du th&eacute;&acirc;tre contemporain mondial, elle se frotte aux &eacute;crits de l&rsquo;&Eacute;cossais David Harrower (<em>Des couteaux dans les poules</em>, production pour laquelle elle re&ccedil;oit le prix de l&rsquo;Association qu&eacute;b&eacute;coise des critiques de th&eacute;&acirc;tre 2013 de la meilleure mise en sc&egrave;ne &agrave; Montr&eacute;al), de l&rsquo;Autrichien Thomas Bernhard (<em>Avant la retraite</em>), du Norv&eacute;gien Arne Lygre (<em>Je disparais</em>), de l&rsquo;Italien Stefano Massini (<em>Chapitres de la chute &ndash; Saga des Lehman brothers</em>, dont elle cosigne la mise en sc&egrave;ne avec Marc Beaupr&eacute;), de l&rsquo;Italien Carlo Goldoni (<em>Les amoureux</em>), de l&rsquo;Am&eacute;ricaine Katori Hall (<em>Au sommet de la montagne</em>).</p>
                              <p>En 2016, elle est la deuxi&egrave;me r&eacute;cipiendaire de la bourse Jean-Pierre Ronfard et, en 2020, la premi&egrave;re laur&eacute;ate du prix Josette-Marchessault, visant &agrave; souligner l&rsquo;apport des femmes artistes du milieu th&eacute;&acirc;tral. Elle est aussi professeure au Conservatoire d&rsquo;art dramatique de Montr&eacute;al.&nbsp;</p>
                              <p><strong>Les mises en sc&egrave;ne de Catherine Vidal pr&eacute;sent&eacute;es au CNA :</strong></p>
                              <ul>
                                <li>Novembre 2017 : <em>Je disparais</em>, d&rsquo;Arne Lygre</li>
                                <li>Janvier 2016 : <em>Le c&oelig;ur en hiver</em>, d&rsquo;&Eacute;tienne Lepage, adaptation du conte <em>La reine des neiges</em> d&rsquo;Hans Christian Andersen&nbsp;</li>
                                <li>Mars 2015 : <em>S&rsquo;appartenir (e)</em>, &eacute;v&eacute;nement th&eacute;&acirc;tro-litt&eacute;raire au f&eacute;minin</li>
                                <li>D&eacute;cembre 2012 : <em>Le grand cahier</em>, adaptation du roman d&rsquo;Agota Kristof</li>
                              </ul>
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                      Alexandra Sutto
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                    <span class="artist_role">Lights</span>
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                      &Eacute;tienne Boucher
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                    <span class="artist_role">With</span>
                    <span class="artist_name">
                      Simon Beaul&eacute;-Bulman, Nathalie Claude, Fr&eacute;d&eacute;ric Desager, Renaud Lacelle-Bourdon, Macha Limonchik, Olivia Palacci, Daniel Parent, Madeleine Sarr et Mattis Savard-Verhoeven
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								alt="Photo of the duo Prairie Comeau performing. © Annie Diotte"
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                          Sicard Artist Series
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                          Andrea Lindsay
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                          D’or et d’argent – The Show
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