Presse (pdf)

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L’invisible
The Glass Eye
Peepshow
La noirceur
Jimmy

PresseL'invisible | The Invisible"L'Invisible est une hallucinante et déroutante performance, pour spectateurs avertis." - Voir, Montréal"Do we see it? Is it real? Shifting perspective, moving in and out of our conscious vision,whatever it is we see becomes a haunting visual." -Jon Kaplan,Now magazine, Toronto"Marie Brassard was onstage for barely a minute when she showed her audience the door - to another realm, a parallel existence somewhere between the material and the spiritual." - Kamal Al-Solaylee, The Globe and Mail, Toronto"In her past work with Robert Lepage, Brassard has developed a reputation for reaching out to her audience and shaking them from their passive stupor – The Invisible is no exception to this trend. Whether with the soothing lull of her calm voice as she retells the story of a child prostitute’s experience in alluringly vivid detail, or the shocking flash of lights, the audience is constantly reminded of their own vulnerability. (…) This piece is not for the intellectually passive or those seeking a night of mindless entertainment. Prepare to be engaged, drawn into a journey along the border of this world and nothingness while constantly being reminded of your own insubstantiality." -Nicky Renault, A ‘n’ E Vibe, Canada"There are some stunning moments of pure stage technique where a simple piece of Mylar and the play of lights upon it tease the audience’s assumptions about what is in front of their eyes. Brassard’s collaborations with Alexander MacSween and Mikko Hynninen allow her to push the limits of the actor’s body and vocal range." -Dr. Natalie Meisner, Seasons Musing, , Calgary"Pour pouvoir apprécier L'Invisible, le spectateur doit être capable de s'abandonner à l'étrangeté d'un parcours onirique assez déroutant. Cela en rassurera quelques-uns de savoir qu'ils auront pour guide une actrice comme Marie Brassard, à l'aise en compagnie des ombres qui l'habitent et sachant naviguer à vue dans les brumes de l'inconscient." - Le Devoir, Montréal"Once she starts shaking and “channeling” like a medium at a seance, the name J.T. Leroy (the name of a fictitious American author used in a recent American literary hoax), emerges from deep within her body. But the name is just a touchstone in a poetic script that’s more hummed, groaned (even sung, sort of) than actually spoken. Shades of Yoko Ono here (in her early days with John Lennon)." - The Gazette, Montréal> pdf (à venir)"The Invisible is a staggering and disconcerting performance, for an informed audience." - Voir, Montreal"Do we see it? Is it real? Shifting perspective, moving in and out of our conscious vision,whatever it is we see becomes a haunting visual." -Jon Kaplan,Now magazine, Toronto"Marie Brassard was onstage for barely a minute when she showed her audience the door - to another realm, a parallel existence somewhere between the material and the spiritual." - Kamal Al-Solaylee, The Globe and Mail, Toronto"In her past work with Robert Lepage, Brassard has developed a reputation for reaching out to her audience and shaking them from their passive stupor – The Invisible is no exception to this trend. Whether with the soothing lull of her calm voice as she retells the story of a child prostitute’s experience in alluringly vivid detail, or the shocking flash of lights, the audience is constantly reminded of their own vulnerability. (…) This piece is not for the intellectually passive or those seeking a night of mindless entertainment. Prepare to be engaged, drawn into a journey along the border of this world and nothingness while constantly being reminded of your own insubstantiality." -Nicky Renault, A ‘n’ E Vibe, Canada"There are some stunning moments of pure stage technique where a simple piece of Mylar and the play of lights upon it tease the audience’s assumptions about what is in front of their eyes. Brassard’s collaborations with Alexander MacSween and Mikko Hynninen allow her to push the limits of the actor’s body and vocal range." -Dr. Natalie Meisner, Seasons Musing, , Calgary"To truly appreciate The Invisible, the audience must be capable of abandoning itself to the strangeness of this disconcerting dreamlike journey. It will reassure some to know that they will be guided by Marie Brassard, an actress at ease in the company of the shadows that haunt her and able to navigate blind through the depths of the subconscious." - Le Devoir, Montreal" Once she starts shaking and "channeling" like a medium at a seance, the name J.T. Leroy (the name of a fictitious American author used in a recent American literary hoax) emerges from deep within her body. But the name is just a touchstone in a poetic script that's more hummed, groaned (even sung, sort of) than actually spoken. Shades of Yoko Ono here (in her early days with John Lennon)." - The Gazette, Montreal>pdf (coming soon)THE GLASS EYE | THE GLASS EYE“The result is a touching and often absurd play. Brassard doubles as director and an offstage narrative voice that provides another perspective to balance that of Negin's character. And while both the tale and tellers are often compelling, it is the impetus the play creates to examine one's own life that leaves the most lasting impression (…) This examination of a life both lived and unlived is a catalyst for the audience, who are urged to re-imagine their own aspirations and the blurred line between reality and dreams. That alone makes this show worth seeing.” - The Globe and Mail, Toronto“Louis Negin is one of those rare actors who's a true raconteur, a performer who turns personal anecdotes into a magnet, drawing an audience irresistibly into his world.” - Now, Toronto“Louis Negin truly radiates. His radiance – more than any other element of The Glass Eye – is what I ﬁnd most compelling. I have rarely seen a character take on such life; on more than one occasion, Louis’ performance brought me to tears. Veiled by his ﬁction, his truth resonates.” - Mooney on theater, Toronto> pdf “The result is a touching and often absurd play. Brassard doubles as director and an offstage narrative voice that provides another perspective to balance that of Negin's character. And while both the tale and tellers are often compelling, it is the impetus the play creates to examine one's own life that leaves the most lasting impression (…) This examination of a life both lived and unlived is a catalyst for the audience, who are urged to re-imagine their own aspirations and the blurred line between reality and dreams. That alone makes this show worth seeing.” - The Globe and Mail, Toronto“Louis Negin is one of those rare actors who's a true raconteur, a performer who turns personal anecdotes into a magnet, drawing an audience irresistibly into his world.” - Now, Toronto“Louis Negin truly radiates. His radiance – more than any other element of The Glass Eye – is what I ﬁnd most compelling. I have rarely seen a character take on such life; on more than one occasion, Louis’ performance brought me to tears. Veiled by his ﬁction, his truth resonates.” - Mooney on theater, Toronto> pdf PEEPSHOW“Not to be missed, Brassard leaves the ordinary behind” - The Vancouver Courier“L’enfance, le désir et une solitude existentielle habitent ce décor à travers la grâce d’une interprète exceptionnelle, totalement engagée dans son art” - Le Devoir, Montréal“Peepshow confirms Marie Brassard’s international status as a master of the solo performance” - The Gazette, Montréal« Marie Brassard est une ensorceleuse. Elle envoûte au premier regard, au premier mot. Sa voix posée, douce nous hypnotise. Ses histoires nous soulèvent. Quel charisme ! On la suivrait n’importe où. » - ICI, Montréal“So wird "Peepshow" wie der Traum der verlassenen Frau, die erst träumt, dass sie verlassen wird, dann träumt, dass sie von ihrem Geliebten getröstet wird, um schließlich doch alleine aufzuwachen. "Ein Traum im Traum, wie eine Kristallkugel in einer Kristallkugel", sagt sie. So wirkt auch dieses intensive Ein-Personen-Stück, distanziert und doch berührend. Ein bestrickendes, verstrickendes Labyrinth der menschlichen Verwirrungen in Beziehungen, eine sehenswerte Reise zu den Ungeheuern des Unterbewusstseins. Dass die auch ganz lustig sein können, zeigt Marie Brassard” - Die presse, Vienne“If it is indeed a will to knowledge that can be said to animate the audience - a desire to understand this woman erasing and redrawing herself before us on the stage - then surely this oscillation - this fascinating, anxious, incredibly human oscillation - tells us all we need to know and makes this understanding possible. Brassard has delivered a powerful work. Her Peepshow is unmissable.” - Melbourne stage, Melbourne“Pas de bon festival sans sa part d'exotisme, de découvertes.Cette édition a rempli dignement cet office en invitant notamment deux maîtresses de la scène canadienne merveilleusement fêlées:l'actrice Marie Brassard et la danseuse Louise Lecavalier, dont le talent et les personnalités ont largement conquis.” - Le temps,“Peepshow is like bedtime stories for adults: it’s intimate theatre and Brassard’s decision to close the show with a renditions of are you lonesome tonight is perfect. You don’t feel quite so alone after spending the night with her and her bright-eyed and lovelorn characters.” - The Australian, Melbourne“Fully integrated with the music and sound that complements Brassard’s vocal transformations of characters is the work of lighting designer Simon Guilbault, whose well-considered thematic-projections ranging from grainy moving images of wolves to a negative image of the storyteller herself lying onstage as a girl on the threshold of sexual awakening-accompany an imaginative use of lighting that only serves to heighten some of the shadows cast in Brassard’s striking and oddly compelling fantasmagoria.” - Calgary Herald, Canada> pdf "Not to be missed, Brassard leaves the ordinary behind." - The Vancouver CourrierLe Devoir The GazetteICI Die Presse Melbourne Stage Le Temps The Australian Calgary Herald >pdf La Noirceur | The Darkness"En faisant entendre le coeur d’un immeuble, situé rue Ontario au centre ville, elle montre une facette de l’âme de Montréal.Dans une optique plus universelle, le spectacle est un constat lucide face à l’effondrement d’un monde prêt à troquer les valeurs humanistes qui l’ont fondé au profit d’un seul dénominateur: l’argent." - Solange Lévesque, Le Devoir, Montréal"La topographie personnelle de Marie Brassard rejoint l’humain. Car cette visite guidée est en fait une géographie du coeur" - La Presse, Montréal"C’est de la haute voltige, et c’est assez étourdissant merci. On vous souhaite de vivre pareils vertiges" - Michel Bélair, Le Devoir, Montréal"Alexander MacSween draws the bow across the cello so that is sounds like someone bowing on shredded heartstrings. Or sometimes his frenzied drumming sounds like the unquiet brain in the sleepless hours before dawn. Voices are electronically distorted, lines repeated, words smashed into each other (...) Hallmarks of Brassard’s work are the minimalist setting, evocative lighting and extreme theatricality. But it is Brassard herself-diminutive, sad, childlike and wise-who mesmerizes. It’s not comfortable, but it’s exciting traveling with her." - The Vancouver Courier, Vancouver"Brassard ist, wie Lepage, eine Virtuosin des Lichts. Goldene Abendstimmung, Schatten und Dunkelheit, aufsteigender Zigarettendunst - die Scheinwerfer zeichnen gemeinsam mit den statisch agierenden Darstellern - Marie Brassard und der Tänzer Guy Trifiro, begleitet von der Live musik Alexander MacSween - jene emotionalen Erinnerungsbilder, deren Ursprung im filmischen Erleben liegt. Die melancholische Einsamkeit der durchwachten Nacht ist das Thema der kontemplativen Stunde. Erzählungssplitter berichten von den nächtlichen Ritualen der Städter zur Bannung der Schrecken der Dunkelheit." - Der Standard, Vienne> pdf "By letting us feel the heartbeat of a downtown apartment building on Ontario Street, she reveals a glimpse of the soul of Montreal. From a more universal perspective, the piece is a lucid statement on the dissolution of a world ready to trade human values for one founded on a single tenet: money." - Solange Lévesque, Le Devoir, Montreal La PresseLe Devoir The Vancouver Courrier Der Standardpdf Jimmy, créature de rêve | Jimmy« Obscène, hilarant, inquiétant, évitant avec élégance toutes les facilités du one-(wo)man show, le spectacle de Marie brassard nous rend au réel en plein rêve éveillé. » - Libération, Paris«This is vital, world-class theatre not to be missed. Definitely the best thing I’ve seen this year.» - The Irish Times, Dublin«Solo performer Marie Brassard wants to take over your dreams.(…) Artists sometimes claim to be tapping the unconscious when they are actually bogging themselves down in patchy surrealism. But Brassard, an artist of rare gifts, makes good on the promise. She evokes dreaming’s borderlessness, its sense that no identity is ever entirely within our control (…) Did it really end? The audience tiptoes out destabilized, worried they may be dreaming still.» —Helen Shaw, New York Time Out«A Murky Dream World of Subconscious Characters… Marie Brassard’s one-woman show “Jimmy” is about the stuff of dreams — well, a dream figure, a recurring visitor in the nocturnal imaginings of a slumbering American Army general and an actress. Audiences may not readily comprehend the strange landscape of the unconscious that the play navigates, but the tall, braided Ms. Brassard is a captivating guide through an enchanting, if unsettling, realm (…)» — Andy Webster, The New York Times «New York premiere of her one-person work, Jimmy is an absolute "must see." Short yet potent, itʼs a small masterwork— a time, gender and genre bender that exemplifies the best of experimental theater (…) In unskilled hands, this quasi sci-fi premise might veer into the merely silly. Ms. Brassard, however, makes this tale almost plausible, imbuing it with heartbreaking poignancy, poetic lyricism and even humor—a combination so very rare these days.» —William Coyle, New York OffOffOnline reviews «Selten kam ein Ein-Personen-Stuck so unangestrengt originell, so humorvoll und uneitel daher.» - Renate Klett, Theater Heute, Allemagne «Jimmy ist in seiner Doppelbödigkeit naturlich auch eine Metapher fur das Theater selbst. Die Konsequenz mit der Brassard dieses Bild geradezu muhelos entfaltet, macht `Jimmy’ zu einem grossartigen Stuck.» - Frankfurter Allgemeine Zeitung, Francfort «Die Autorin hat ein altes Thema der Menschheit abgewandelt, Fragen nach Traum und Wirklichkeit in unserem Dasein. Damit verbunden sind die Erforschung der Träume und des Unbewussten». - Basellandschaftliche Zeitung, Bâle «Her remarkable performance raises fascinating, existential questions about identity.» - The age, Melbourne « Marie Brassard est de la tribu des surréalistes; ses songes sont sa toile et on a hâte d’en être victimes. » - Le Temps, Genève «Marie Brassard knows that a tiny gesture or half a line of text can suggest a world of meaning. With laconic, dry humor, a few theatrical tricks and a touch of postmodernism, she draws the audience into a series of Russian-doll scenarios that circle onto themselves and are alternately claustrophobic and liberating. A world class, impeccable piece of theatre, not to be missed». - Now, Toronto > pdf «Obscene, hilarious, disturbing, while elegantly avoiding all the usual trappings of a one-(wo)man show, Marie Brassard's performance takes us back to reality in the middle of a vivid dream.» - Libération, Paris «This is vital, world-class theatre not to be missed. Definitely the best thing I've seen this year.» - The Irish Times, Dublin «Solo performer Marie Brassard wants to take over your dreams.(…) Artists sometimes claim to be tapping the unconscious when they are actually bogging themselves down in patchy surrealism. But Brassard, an artist of rare gifts, makes good on the promise. She evokes dreaming’s borderlessness, its sense that no identity is ever entirely within our control (…) Did it really end? The audience tiptoes out destabilized, worried they may be dreaming still.» —Helen Shaw, New York Time Out «A Murky Dream World of Subconscious Characters… Marie Brassard’s one-woman show “Jimmy” is about the stuff of dreams — well, a dream figure, a recurring visitor in the nocturnal imaginings of a slumbering American Army general and an actress. Audiences may not readily comprehend the strange landscape of the unconscious that the play navigates, but the tall, braided Ms. Brassard is a captivating guide through an enchanting, if unsettling, realm (…)» — Andy Webster, The New York Times «New York premiere of her one-person work, Jimmy is an absolute "must see." Short yet potent, itʼs a small masterwork— a time, gender and genre bender that exemplifies the best of experimental theater (…) In unskilled hands, this quasi sci-fi premise might veer into the merely silly. Ms. Brassard, however, makes this tale almost plausible, imbuing it with heartbreaking poignancy, poetic lyricism and even humor—a combination so very rare these days.» —William Coyle, New York OffOffOnline reviews «Seldom has a solo performance been so naturally original, funny yet humble at the same time.» - Renate Klett, Theater Heute, Germany «In its ambiguity, Jimmy is clearly also a metaphor for theater itself. The consequence and effortlessness with which Brassard tells this story makes Jimmy a magnificent piece of theater.» - Frankfurter Allgemeine Zeitung, Frankfurt «The author has transformed an age old theme of humanity, questioning dream and reality in our existence, exploring dreams and the subconscious in the process.» - Basellandschaftliche Zeitung, Basel «Her remarkable performance raises fascinating, existential questions about identity.» - The Age, Melbourne «Marie Brassard is of the surrealist tribe; her dreams are her canvas and we're eager to become one of her muses.» - Le Temps, Geneva «Marie Brassard knows that a tiny gesture or half a line of text can suggest a world of meaning. With laconic, dry humor, a few theatrical tricks and a touch of postmodernism, she draws the audience into a series of Russian-doll scenarios that circle onto themselves and are alternately claustrophobic and liberating. A world class, impeccable piece of theatre, not to be missed.» - Now, Toronto > pdf