“Love Love”: the renewal dystopian

«Amour Amour»: renouveau dystopique

The five actresses in the play “Love Love” (Lé Aubin, Ariel Charest, Sarah Villeneuve-Desjardins, Catherine Côté and Claude Breton-Potvin) defend their characters with a crazy energy.

23 October 2019 13h53

Updated at 23h21


“Love Love”: the renewal dystopian

«Amour Amour»: renouveau dystopique

Normand Provencher

The Sun


CRITICAL / It is a sociological experiment unusual and often disconcerting that the First Act invites the public to the second creation of the season. “Love Love” is a reflection on the conditioning societal where individuals wake up in a sanitized world, unable to communicate among themselves, strangers to their environment. From then on, their journey will be to build code to create a semblance of community. With the inevitable pitfalls that accompany the process.

In a world of curtains milky, which gives the scene, like a spaceship, the five female characters extricate themselves with difficulty from their cocoon of plastic and aluminum. They are as helpless as a child at birth, these beings that remind us of the précog Agatha in the movie minority Report for Spielberg. It is the discovery of the body. A semblance of language takes shape. The first feelings of dread and empathy set in. Self-awareness also fragile.

A female voice sounds robotic – I think the computer Hal from 2001, a space odyssey, to stay in the science-fiction – guide the group in its exploration of this world dystopian. “You’re free to build, organize yourselves by yourselves.” Nasty challenge that makes the spectator witness to the experiments, goofy, sometimes grotesque, these cyborgs who aspire to become “better people”.

A device to measure the intrinsic value of things and acts leads to the protagonists, devoid of any social reference, to compete in a strange contest of popularity, between applause and boos. They are strong lacking when it comes to dealing with everyday objects. An iron is used to crush vegetables, a fan becomes a confidant, a gun, is coaxed. A greenhouse will be used for the discovery of the plant, but also as an alcove for the first emotions of love.

Despite a few tables désarmants, which put our patience to the test, the writer and director Gabriel Cloutier Tremblay, also a co-founder of the company a signatory of the piece (Kill your fear), pushes the allegory in its limits to better reflect our relationship to the world, particularly to the way in which each individual is indoctrinated into a straitjacket, forced to find his place quickly, not be ostracized from his community. If any, remains for him, as it is shown, the leak-provoking to elsewhere that you wish best.

The five actresses – Lé Aubin, Claude Breton-Potvin, Ariel Charest, Catherine Côté and Sarah Villeneuve-Desjardins – give themselves to the full in roles that are physically demanding. They must play multiple gestures and facial expressions, some funny. Conversely, there is doubt about the about to speak a few quite normal when some of the passages.

Many of the choreographies, offered on the rhythms and robotic circumstances add to the collective effort, and are included as reminders of a society where everyone has to walk the walk. A sixth character, a male one this time (Miguel Fountain) comes in the end of course, without his presence adds nothing relevant to the subject.

Love Love is presented in the First Act until 2 November.

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