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Song of the Say-Sayer [1997] (Talonbooks, Vancouver: 1999)15.95$
Première lecture Des extraits de cette traduction ont été présentés en lecture publique pendant la Résidence de traduction du CEAD tenue du 3 au 14 septembre 2001 au Centre d’arts d’Orford. Création Créé sous le titre de Thunderstruck or The Song of the Say-Sayer par One Yellow Rabbit, Calgary, 23 février 1999 Traducteur(s) Linda Gaboriau (Auteur féminin) Nombre de personnages 4 Personnage(s), 1 Femme(s), 3 Homme(s), 4 Acteur(s) |  |
Original - Original en français par Daniel Danis sous le titre de Le chant du Dire-Dire [1996] (Théâtre Ouvert, tapuscrit n° 83, Paris, 1996, épuisé; L'Arche Éditeur, Paris, 2000)
- Espace Go, 29 avril 1998; Théâtre de la Colline (Paris), 15 septembre 1999
- Ce texte a été présenté en lecture publique par le CEAD, le 8 décembre 1996.
Résumé A thunderstorm hits the home of the Lastings, killing the parents and forever bonding the children,
although Rock, William, Fred-James and Naomi are not blood-related. Years later, still
haunted by their terrible childhood memory, the three older brothers await the return of their
beloved sister who has been singing in faraway places. But the redhead who returns is horribly
sick. Now the Lasting clan must join forces again, because the “municipals” are threatening to take
away their sister.
Plus d'informations »
- Décor: […]
- Caractéristiques des personnages: CHARACTERS
By age, their first names are Rock, William, Fred-James, Naomi and they are all named Lasting. All four were adopted and there might be three or four years difference between each of them.
Whether or not Naomi is visible on stage, depending upon the artistic vision of the director, it is essential that she be very alive, we should sense her breath; very physical, we should feel her humanity; very aware, we should feel she is a real presence.
THE SONG
At two or three moments in the performance, it would be appropriate to hear the three brothers produce throat music akin to the act of breathing, like certain types of African and Inuit chanting. Not a single recognizable word or onomatopoeia should be used. This chanting would represent a form of the human voice from before or after language.
Naomi’s song should be rendered as written.
The first two times Naomi is heard, the written text-a series of four "And .... "- should be treated like musical attacks of varying lengths.
In The Swamp Castle, Naomi’s "And..." is never meant to be a spoken line, but rather an emphatic beat, punctuating an audible presence.
Extrait « WILLIAM: Rock, what does unsanity mean? People said we live in unsanity conditions. Rock, answer me, do we live that way? / ROCK: I heard your loving friends say "unsanitary". Un-san-i-ta-ry! / WILLIAM: Why won't they leave us alone? The mayor even called us thunderstruck retards, right on TV! I'm gonna punch his damn roachface in! » Revue de presse "The structure of the play is unique, straddling narration and dialogue, drawing equally from storytelling theatre and North American psychological drama, and bordering on Native
shamanistic incantation." Jean Beaunoyer, La Presse, May 2, 1998.
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