Coda
Lepage exposed
in Robert Lepage’s original stage productions
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This chapter argues that while Lepage’s group-created productions declined in quality and touring success in the mid-period of his career, his solo productions continue to be successful because the material in them gravitates towards the poles of the personal and the global. A middle term of reference, which tends to be engaged in the larger group productions and which is grounded in history and in national, gendered, and ethnic identities, has become increasingly difficult for Lepage to navigate over the course of his career. This chapter briefly discusses significant controversies in the summer of 2018 around Lepage-directed productions representing experiences and identities that are not directly his nor those of his collaborators (Slàv and Kanata); it was striking to observe Lepage, who has worked so long and so skilfully to avoid being caught in any definition or discourse, entangled in situations in which his approach was held up to sustained and divisive public scrutiny. It ends by offering snapshots from three of Lepage’s solo productions (The Far Side of the Moon, The Andersen Project, and 887) – moments when Lepage has briefly appeared from behind layers of discourse, allowing himself, his strengths, and his weaknesses to be seen.

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