Un pas de géant

Un pas de géant, c’est bien ce que je répète aux gens qui connaissent mon parcours artistique. Toujours dans le chœur des productions pour lesquelles j’ai auditionné, je me retrouve maintenant dans un premier rôle d’une des pièces les plus majestueuses et remplies de défis que je connaisse. Pourtant, dans l’ombre de ce travail de chœur se déployait un réel cheminement personnel formé de plusieurs petits pas presque invisibles. Avec l’attribution à ce premier rôle, j’en suis maintenant à être confrontée à pleins de nouvelles expériences enrichissantes, excitantes, mais aussi terrifiantes.

C’est un réel yoyo d’émotions que me fait vivre la préparation de ce spectacle. Je suis fière de moi, je visualise mon rôle, mais parfois, je vous le confie, je doute terriblement de moi. La tâche est si grande par rapport au rôle de chœur auquel je suis habituée. C’est l’inconnu, mais aussi une tout autre implication.

Le rôle de chœur demande davantage une préparation  de groupe. La grande partie du travail de chœur que j’ai connu était l’apprentissage de chorégraphies. En effet, le chœur intervient souvent lors de numéros dansés. Par contre, la première comédie musicale à laquelle j’ai participé au Cégep, Les Misérables, ne comportait pratiquement aucune danse. Dans ce cas, « chorégraphie » signifie plutôt s’exprimer avec le corps, suivre un certain mouvement de groupe déterminé. Je me souviens, par exemple, de la scène dans l’auberge des Thénardier qui était chorégraphiée sans être dansée. J’entrais sur scène avec telle démarche, puis je rejoignais tel groupe à tel endroit, je posais tel geste à tel moment, etc. J’ai aussi dû apprendre à être à l’aise avec mes collègues afin d’interagir avec eux. Une fois les bases établies en termes d’actions et d’intentions selon les directives du metteur en scène, c’est le moment de faire vivre ce chœur en interagissant. Il faut s’inventer un personnage, trouver ses motivations, les relations qu’il entretient avec les autres. Ensuite, il ne faut pas avoir peur de poser les gestes que nous croyons que ce personnage poserait. Le travail de chœur c’est de faire des propositions à tes collègues et aussi de répondre à celles des autres. C’est pourquoi il est beaucoup question «d’interactions». Et c’est là que j’ai dû apprendre à faire confiance à ma créativité. Le chœur est loin d’être ennuyeux. Le chœur représente un tout cohérent construit de ces petites individualités essentielles à la richesse de celui-ci.

L’interaction, l’écoute des autres et la confiance en ma créativité sont des apprentissages faits au sein du chœur qui m’ont permis de faire ce passage vers un premier rôle. Au chœur, il fallait s’inventer un personnage que l’on devait connaître assez bien pour pouvoir agir selon ses motivations. Au premier rôle, il faut maîtriser le personnage dans les plus petits détails. Les intentions de chaque phrase doivent être claires, les déplacements du personnage doivent être justifiés, la voix chantée est aussi influencée. Du côté du chant, mon défi a été d’affronter la scène seule, c’est-à-dire d’avoir des chansons et des parties chantées solo. J’ai découvert une nouvelle facette de la musique, soit les nuances vocales à apporter à une chanson pour faire ressentir une ambiance ou une émotion. J’ai aussi appris l’importance de la partition de chant afin d’être en accord avec la musique et les autres interprètes. Du côté du théâtre, ce qui était à mon avis ma faiblesse, ou du moins qui représentait une donnée inconnue pour moi,se trouvaient être certaines notions, que j’ai mieux comprises ensuite, comme la prononciation, la projection, l’articulation, la démarche, le dialogue, les gestes, les intentions autant dans la posture que dans la manière de dire ses répliques. Une fois le travail commencé, on reçoit plusieurs rétroactions sur tous ses aspects. Il faut les retravailler, pousser les limites, essayer avec d’autres intentions. Le défi du travail de rôle c’est d’être capable d’unir et d’exploiter toutes ces notions. Bien sûr, elles sont tout aussi présentent dans le travail du chœur. Par contre, le rôle nécessite une exploration plus appuyé de celles-ci afin d’offrir au public et à la pièce le personnage qu’ils méritent : à travers une interprétation cohérente, précise, divertissante et enrichie de la créativité de l’interprète.

Je suis peut-être le choix le plus insoupçonné de la distribution de la récente production du Phoenix musical en collaboration avec le CoMUM, Au fond des bois. J’ai encore bien du chemin à faire, mais je suis extrêmement fière du travail qui m’a mené à ce pas de géant et qui me guide vers mon prochain.

 

**Crédit photo à Benoit Vermette**

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