His naturally melancholic disposition was emphasised when at the age of six he fell prey to alopecia: "Of course I had friends, but it was very limiting because there was a always a chance that at every corner someone would be laughing at me or waiting to beat me up. With every speech act all individuals perform, to a greater or less extent, an 'act of identity', revealing through their personal use of language their sense of social and ethnic solidarity or difference. "All of the connections are there, somewhere in the subconscious or in the collective unconscious. "But what's interesting is that they built a Yin bridge and a Yang bridge, one with phallic shapes and the other with vaginal shapes. Robert Lepage and postmodernism by Julian Bryant - Wednesday, 9 January 2008, 01:00 PM When he was here last year, Robert Lepage posed the question as to why theatre wasn't as exciting as rock and roll. And he says there is no obscure or magical secret to his talent. Canada. However, Lepage has recently begun to regain some kind of equilibrium, thanks to his sister Lynda Beaulieu, who became his assistant in 1997: "My principal goal was for him to have a decent life, because his was hectic," she says. ", At the Joseph-François Perreault high school Robert became involved in theatre, began to gain some confidence, and accumulated a band of friends. Le Confessional (1995), which Lepage wrote and directed, created parallels between the events surrounding the filming of Alfred Hitchcock’s I Confess (1952) and the lives of his contemporary characters. In 1982, he joined Quebec City's Théâtre Repère, an experimental troupe dedicated to a similar theory, that dramatic creation should always begin with a tangible resource - an object or experience rather than an idea. Lepage was raised in a working-class family in Quebec City. Then Lepage arrived who, instead of language, used these incredible powerful but simple images. In 1992 Lepage sparked controversy at the British National Theatre by setting Shakespeare’s A Midsummer Night’s Dream in a mud bath. In the midst of doing it, people got pretty pissed off." After Germaine suffered numerous miscarriages, the Lepages decided to adopt children, a boy and a girl who, as the family were then living in Anglophone Nova Scotia, were brought up and educated in English. Productions: L'attaque quotidienne, 1979; Saturday Night Taxi '80; En Attendant '82; Circulations '84; The Dragons' Trilogy '85; Vinci '86; Polygraph '87; Tectonic Plates '88; Needles And Opium '91; Midsummer Night's Dream '92; Seven Streams Of The River Ota '94-96; Elsinore '96; Geometry Of Miracles, '99; The Far Side Of The Moon 2001. The abstracted Zulu Time (1999) put Lepage’s trademark facility with lighting and intricately composed video projections on full display to tell the stories of a cast of characters ranging from flight attendants to terrorists. Can a show truly be global and are there shows that rely ROBERT LEPAGE’S WORKING PRINCIPLES IN THE MAKING OF GAIJIN Benjamin Knapton Submitted in partial fulfilment of the requirements for the degree of Master of Arts (Research) Queensland University of Technology Creative Industries Faculty Performance Studies 2008 . This thesis specifically explores the mise-en-scène of Lepages productions of Igor Stravinskys operas The Rake’s Progress (2007), and The Nightingale (2009).This is not a In 1993 he directed the Canadian Opera Company’s productions of Béla Bartók’s Bluebeard’s Castle and Arnold Schoenberg’s Erwartung. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. "I was fascinated by the idea that you can cross the road and enter this dream world, this vision of China. But just as that moment came in the play, and the door was pulled back, a Chinese junk passed by with a big flowing red sail. Das Rheingold premiered in 2010, Die Walküre and Siegfried in 2011, and Götterdämmerung in 2012. Lepage later directed a production of Richard Wagner’s operatic tetralogy Der Ring des Nibelungen at the Metropolitan Opera in New York City that featured a controversial 90,000-pound (40,823-kg) stage set made up of 24 pivoting planks on which images were projected and actors walked or dangled. Aspect(s) of theory Potential theatre piece Robert Lepage (b.1957) Interview: “Connecting Flights” (1999) Book: The Theatricality of Robert Lepage by Aleksandar Sasa Dundjerović (2007) Film projection Solo theatre presentation of a monologue about the tsunami. Lepage left Théâtre Repère to become head of the French theatre section of the National Arts Centre in Ottawa in 1989. Then Lepage arrived who, instead of language, used these incredible but! By creating and presenting a solo piece of theatre based on theatre theory very busy and doing projects it... 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