Selected Stage Performances
- Les Deux Gentilshommes de Vérone (The Two Gentlemen of Verona), by William Shakespeare (1985)
- La Passion selon Pier Paolo Pasolini (The Passion According to Pier Paolo Pasolini), a play by René Kalinsky based on Teorema (1985)
- Harold et Maude (Harold and Maude), trans. and adapt. by Jean-Claude Carrière of the play by Colin Higgins (1986)
- Toupie Wildwood, by Pascale Rafie (1987)
- Au pied de la lettre (At the End of the Letter), by André Simard (1987)
- Fool for Love, by Sam Shepard, trans. Michèle Magny (1987)
- Le Chien (The Dog), by Jean-Marc Dalpé (1987–1989)
- Les Muses orphelines (The Orphan Muses), by Michel Marc Bouchard (1988)
- Roméo et Juliette (Romeo and Juliet), by William Shakespeare, trans. Jean-Louis Roux (1989)
- Un Oiseau vivant dans la gueule (A Live Bird in Its Jaws), by Jeanne-Mance Delisle (1990)
- True West, by Sam Shepard, trans. Pierre Legris (1994)
- Blasted, by Sarah Kane, trans. as Blasté by Jean-Marc Dalpé (2008)
Read more about this topic: Roy Dupuis
Famous quotes containing the words selected, stage and/or performances:
“There is no reason why parents who work hard at a job to support a family, who nurture children during the hours at home, and who have searched for and selected the best [daycare] arrangement possible for their children need to feel anxious and guilty. It almost seems as if our culture wants parents to experience these negative feelings.”
—Gwen Morgan (20th century)
“I have come to believe ... that the stage may do more than teach, that much of our current moral instruction will not endure the test of being cast into a lifelike mold, and when presented in dramatic form will reveal itself as platitudinous and effete. That which may have sounded like righteous teaching when it was remote and wordy will be challenged afresh when it is obliged to simulate life itself.”
—Jane Addams (1860–1935)
“At one of the later performances you asked why they called it a “miracle,”
Since nothing ever happened. That, of course, was the miracle
But you wanted to know why so much action took on so much life
And still managed to remain itself, aloof, smiling and courteous.”
—John Ashbery (b. 1927)