Set and props
Hair and make-up
Set and stage manager
Productions Yves Nicol
Sylvie Boucher, Antoine Chouinard, Paul Duhaime, François Gosselin, Martin Huot, Jackie Morin, Jean- Philippe Morin, Claire Meilleur
Roger Desgagnés, Gérard Dostie, Martin Giguère
Production team for experimental performances at Théâtre du Vieux-Terrebonne
Éric Bourgeau, Christian Collin, Eric Gendron, Vincent Lavoie, Sylvin Sévigny
Léon Avezard, Caroline Bourbonnais (La Fabuloserie), Laurent Danchin
Le Carrousel thanks
Valérie Anne Fiset, who let us use the set of Contes à rebours in our exploratory phase, Michel Maher for lighting assistance, Michel Casang for sound recording of the merry-go-ground, Pierre-Yves Dupuis and Jean-Guy Viau, and École des Saint-Anges, École des Quatre-Vents, and École la Sitelle.
In co-production with Espace Malraux/Scène nationale de Chambéry et de la Savoie, Centre culturel de Villefranche-sur-Saône, L’Yonne-en-Scène (France) and Théâtre du Vieux-Terrebonne (Quebec)
Pierre Avezard, nicknamed Petit Pierre (1909-92), was born prematurely, “unfinished”, as he would say. Half-blind, almost deaf and mute, he couldn’t learn to read and write. He was taken out of school when he was seven and provided with the trade of innocents: cowherd. In the fields, Petit Pierre observed nature, animals, and men at work. He saw that machines invaded daily life, and that the world was constantly changing.
Everything that moved, on paws, on wheels, or by other means, was truly fascinating to him. In solitude, he spent his time analyzing, dissecting, and reproducing movement: first in his mind, and then. . .
While the world was going through the most horrible times, Petit Pierre spent almost forty years creating a merry-go-round, a poetic machine of unique beauty and so mechanically complex that even engineers had difficulty explaining it. A masterwork of art brut, Petit Pierre’s merry-go-round is a thought-provoking metaphor for the evolution of humankind in the twentieth century.
Adults and young peolple aged 9+
“Poetic. Polished. Intelligent. With Petit Pierre, the Quebecers in the company Le Carrousel work together marvellously to get a room full of kids, snatched away from the turbulent games of the playground, to hold their breath for an entire hour. A beautiful story is told, full of poetry and great history lessons: history with a big 'H´ and the other kind, that of Pierre’s life.”
Isabelle Mastin, La Voix du Nord.
“Everyone will take something with them of this moving show called Petit Pierre. You gave him a voice that life did not give him. I greatly appreciated the intelligence of the direction, which seems to be totally transparent. God, how much work it takes to be both so light and so serious! I loved all these levels of reading, this layered confection of this little man’s story and our own stories, as we are also little people before history.”
Pierre Lecarme, Le Dauphiné libéré.
“It must be said: Petit Pierre is not theatre for children. It’s theatre, pure and simple. True theatre. Marvellous theatre. . . The emotion and truth of the actors’ play, the simplicity and ingenuity of the set, the intimacy of the lighting – it all transports the audience into the story of a man who was different, solitary, charming, and ingenious, who lived through the history of his century more with his instinct than with reason.”
In 2009, Premiere in Mandarin in co-production with the Taipei Children’s Arts Festival.
Translation Camille Yih-June Chia | Cast Ludger Côté, Jade Pi-Yu Shih, Szu-Ni Wen | Assistant director Ming-Chu Yu
Documents à télécharger
Photos: François-Xavier Gaudreault (1,2,3) et Jacques Driol (4)
Dossier de presentation