Lepage in his own line of vision
in Robert Lepage’s original stage productions
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This chapter argues that Vinci, a solo piece created and toured between 1986 and 1988, deserves an equally central place in considerations of Lepage’s creative project as the better-known group work The Dragon’s Trilogy. It comes across as a mission statement, announcing Robert Lepage’s engagement in interrelated areas of inquiry that extend across his career: autobiography, visuality, and representation. Through his solo shows, Lepage narrates his own development as an artist and a public figure through the artworks which in turn become a key foundation for his status and reputation as an artist – a highly reflexive process. The key terms in Lepage’s public persona are those of being an artist and being Québécois, but this chapter argues that other points of identification figure in Vinci and other works more obliquely: of being a gay man, and of having a non-normative experience of physicality. This chapter reads Vinci as an attempt by Lepage to understand the relationship between his body, his sexuality, his creative output, and the environments he lives and works in – a pursuit rendered particularly complicated by the fraught and contradictory ways in which male homosexuality signifies in Québec and has figured in the history of Québécois theatrical production.


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