{"id":27517,"date":"2025-02-06T15:24:56","date_gmt":"2025-02-06T20:24:56","guid":{"rendered":"https:\/\/siminovitchprize.com\/?p=27517"},"modified":"2025-04-25T14:55:20","modified_gmt":"2025-04-25T18:55:20","slug":"emerging-perspectives-dasha-plett","status":"publish","type":"post","link":"https:\/\/siminovitchprize.com\/fr\/emerging-perspectives-dasha-plett\/","title":{"rendered":"Perspectives \u00e9mergentes : Dasha Plett"},"content":{"rendered":"<p><b>Briser le th\u00e9\u00e2tre pour le reconstruire : Conversation avec Dasha Plett<\/b><\/p>\n<p><a href=\"https:\/\/www.princessdasha.com\/\"><span style=\"font-weight: 400;\">Dasha Plett<\/span><\/a><span style=\"font-weight: 400;\">, conceptrice sonore, compositrice et cofondatrice de <\/span><a href=\"https:\/\/www.wequittheatre.ca\/\"><span style=\"font-weight: 400;\">We Quit Theatre<\/span><\/a><span style=\"font-weight: 400;\">, repousse les limites de la repr\u00e9sentation th\u00e9\u00e2trale. Son travail se situe entre r\u00e9v\u00e9rence et r\u00e9bellion, embrassant la nature impr\u00e9visible de la performance en direct tout en critiquant les structures qui fa\u00e7onnent le th\u00e9\u00e2tre traditionnel. Lors d'une conversation avec Sam Woods, gestionnaire communautaire de la Fondation de th\u00e9\u00e2tre Siminovitch, Dasha a partag\u00e9 ses valeurs artistiques, son processus cr\u00e9atif et le besoin urgent de repenser les fa\u00e7ons dont nous faisons et vivons le th\u00e9\u00e2tre.<\/span><\/p>\n<p><b><i>Quitter le th\u00e9\u00e2tre pour le sauver<\/i><\/b><\/p>\n<p><span style=\"font-weight: 400;\">Fond\u00e9 par Dasha et une autre artiste de Winnipeg, Gislina Patterson, We Quit Theatre est n\u00e9 d'une frustration \u00e0 l'\u00e9gard des m\u00e9thodes conventionnelles de cr\u00e9ation th\u00e9\u00e2trale. Le nom de la compagnie est une provocation qui r\u00e9sume un amour profond pour la forme d'art et un d\u00e9sir de la briser pour trouver quelque chose de nouveau. \u00ab Nous aimons le th\u00e9\u00e2tre et nous voulons le briser, le quitter et le red\u00e9couvrir \u00bb, explique Dasha. Leur travail remet en question l'approche dominante du th\u00e9\u00e2tre, centr\u00e9e sur le texte, en privil\u00e9giant des styles de performance qui empruntent \u00e0 la danse, aux concerts de heavy metal, aux talk-shows de fin de soir\u00e9e, aux conf\u00e9rences universitaires et m\u00eame \u00e0 la lutte.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Leur premi\u00e8re pi\u00e8ce,<\/span> <a href=\"https:\/\/www.wequittheatre.ca\/?p=96\"><i><span style=\"font-weight: 400;\">805-4821<\/span><\/i><\/a><span style=\"font-weight: 400;\">, illustre bien cette philosophie. La performance utilisait un r\u00e9troprojecteur, non pas pour faire des ombres chinoises, mais comme un hybride num\u00e9rique-analogique qui projetait du texte fragment\u00e9 et de la vid\u00e9o. Le public a v\u00e9cu la pi\u00e8ce dans un quasi-silence, absorbant les mots r\u00e9v\u00e9l\u00e9s une ligne \u00e0 la fois. Il s'agissait d'une exp\u00e9rience de perception et de pr\u00e9sence, d'une tentative d\u00e9lib\u00e9r\u00e9e de perturber les rythmes attendus de la narration th\u00e9\u00e2trale.<\/span><\/p>\n<p><b><i>R\u00e9imaginer la performance et l'exp\u00e9rience du public<\/i><\/b><\/p>\n<p><span style=\"font-weight: 400;\">Pour We Quit Theatre, l'exp\u00e9rience th\u00e9\u00e2trale traditionnelle est souvent trop polie, rigide et d\u00e9tach\u00e9e de la spontan\u00e9it\u00e9 qui rend le spectacle vivant passionnant. \u00ab J'aime quand les choses tournent mal \u00bb, admet Dasha. \u00ab C'est tellement ironique que nous fassions cette chose \u00e9ph\u00e9m\u00e8re, en direct, mais que nous voulions que ce soit comme un film - parfait, contr\u00f4l\u00e9 \u00bb. Au contraire, leur travail consid\u00e8re le hasard et l'erreur comme des \u00e9l\u00e9ments essentiels de la performance.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Cette philosophie subversive s'\u00e9tend \u00e0 leur approche de la narration. Leur production<\/span> <a href=\"https:\/\/www.wequittheatre.ca\/?p=102\"><i><span style=\"font-weight: 400;\">i am your spaniel ; or, A Midsummer Night's Dream by William Shakespeare by Gislina Patterson<\/span><\/i><\/a> <span style=\"font-weight: 400;\">s'attaque \u00e0 la fixation institutionnelle du Canada sur Shakespeare. Elle s'interroge sur les raisons pour lesquelles la repr\u00e9sentation de Shakespeare reste centrale dans le paysage culturel, souvent sans \u00eatre remise en question. Le spectacle m\u00eale histoire, critique politique et r\u00e9cit personnel, soulignant l'engagement de We Quit Theatre \u00e0 m\u00ealer l'intellectuel \u00e0 l'intime.<\/span><\/p>\n<p><b><i>Le facteur Winnipeg : Briser l'\u00e9chelle des carri\u00e8res<\/i><\/b><\/p>\n<p><span style=\"font-weight: 400;\">\u00c9tablie \u00e0 Winnipeg, Dasha reconna\u00eet que le fait de travailler \u00e0 l'ext\u00e9rieur des grands centres th\u00e9\u00e2traux comme Toronto, Montr\u00e9al et Vancouver pr\u00e9sente des d\u00e9fis uniques, mais aussi des libert\u00e9s inattendues. \u00ab Il n'y a pas d'\u00e9chelle \u00e0 gravir ici, explique-t-elle. \u00ab On peut travailler dans les plus grandes institutions de la r\u00e9gion alors qu'on est encore tr\u00e8s jeune, ce qui signifie que l'on voit aussi beaucoup plus t\u00f4t l'illusion du carri\u00e9risme. \u00bb Plut\u00f4t que de se fixer sur l'ascension des hi\u00e9rarchies institutionnelles, Dasha et Gislina ont trac\u00e9 une voie diff\u00e9rente, qui contourne la validation traditionnelle en faveur de l'ind\u00e9pendance artistique.<\/span><\/p>\n<p><b><i>Mentorat et croissance : Apprendre de Debashis Sinha<\/i><\/b><\/p>\n<p><span style=\"font-weight: 400;\">Dans le cadre de son parcours en tant que conceptrice sonore, Dasha Plett est encadr\u00e9e par l'artiste de renom Debashis Sinha (finaliste du Prix Siminovitch 2024), qui l'a s\u00e9lectionn\u00e9e pour recevoir une bourse d'artiste \u00e9mergent en 2024. Ce mentorat s'av\u00e8re d\u00e9j\u00e0 inestimable, car Deb a activement mis Dasha en contact avec des personnalit\u00e9s cl\u00e9s de la sc\u00e8ne th\u00e9\u00e2trale canadienne. Gr\u00e2ce \u00e0 ces nouvelles relations et opportunit\u00e9s, elle renforce non seulement ses comp\u00e9tences en conception sonore, mais elle est \u00e9galement aid\u00e9e \u00e0 naviguer dans le paysage artistique plus large avec plus de confiance et de soutien.<\/span><\/p>\n<p><b><i>Prochaines \u00e9tapes : Repousser les limites<\/i><\/b><\/p>\n<p><span style=\"font-weight: 400;\">\u00c0 l'horizon, We Quit Theatre pr\u00e9pare <\/span><i><span style=\"font-weight: 400;\">GLORY!<\/span><\/i><span style=\"font-weight: 400;\">- un hybride danse-th\u00e9\u00e2tre dont la premi\u00e8re aura lieu \u00e0 Winnipeg cet automne. Le spectacle explore l'h\u00e9ritage du f\u00e9minisme des ann\u00e9es 1970 et de la transphobie contemporaine, en \u00e9tablissant des liens inattendus entre les d\u00e9cennies. Dasha elle-m\u00eame incarnera l'ic\u00f4ne f\u00e9ministe Gloria Steinem dans ce qu'elle d\u00e9crit comme une performance scandaleuse. Parall\u00e8lement, elle poursuit son travail de compositrice et de conceptrice sonore, collaborant avec la chor\u00e9graphe <\/span><a href=\"https:\/\/www.alexandraelliottdance.com\/\"><span style=\"font-weight: 400;\">Alexandra Elliott<\/span><\/a><span style=\"font-weight: 400;\"> sur un nouveau projet qui devrait voir le jour cette ann\u00e9e.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Le travail de Dasha Plett r\u00e9siste \u00e0 toute cat\u00e9gorisation. Il est \u00e0 la fois politique et profond\u00e9ment personnel, rigoureux et chaotique, rejetant la tradition tout en reconnaissant son influence. Alors que Dasha et We Quit Theatre continuent de repousser les limites de la performance, ils nous rappellent que le th\u00e9\u00e2tre est plus vivant lorsqu'il est instable, qu'il n'a pas peur et qu'il n'est pas pr\u00eat \u00e0 se contenter de ce qui est attendu.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Le travail de Dasha et We Quit Theatre vous int\u00e9resse ? Regardez leur court m\u00e9trage command\u00e9 par stratfest@home <\/span><i><span style=\"font-weight: 400;\">Men Explain Things to Us\u2026 And We Like It! <\/span><\/i><a href=\"https:\/\/youtu.be\/Isc6L0ssSYo?si=P05VZTsZHC9YBlWj\"><span style=\"font-weight: 400;\">ici<\/span><\/a><span style=\"font-weight: 400;\">.<\/span><\/p>","protected":false},"excerpt":{"rendered":"<p>Breaking Theatre to Rebuild It: A Conversation with Dasha Plett Dasha Plett, a sound designer, composer, and co-founder of We Quit Theatre, is reshaping the boundaries of theatrical performance. Her work exists in tension between reverence and rebellion, embracing the unpredictable nature of live performance while critiquing the structures that shape traditional theatre. In a [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":27525,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[57],"tags":[],"class_list":["post-27517","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Emerging Perspectives: Dasha Plett - Siminovitch Theatre Foundation<\/title>\n<meta name=\"description\" content=\"Dasha Plett: Sound Designer &amp; Theatre Innovator | We Quit Theatre Co-Founder Explore Dasha Plett&#039;s boundary-pushing work in sound design and experimental theatre with We Quit Theatre. 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