{"id":12816,"date":"2020-03-08T16:36:42","date_gmt":"2020-03-08T20:36:42","guid":{"rendered":"https:\/\/panm360.com\/interviews-panm360\/kent-nagano-copy-copy-copy-3\/"},"modified":"2020-04-02T10:42:40","modified_gmt":"2020-04-02T14:42:40","slug":"macdeath-an-excellent-nightmare","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/macdeath-an-excellent-nightmare\/","title":{"rendered":"Macdeath: An Excellent Nightmare"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Pelletier and D&#8217;Orion first worked together about eight years ago, on a reinterpretation of Ionesco&#8217;s <em>Rhinoc\u00e9ros<\/em>. Some time later, in 2015, they teamed up again for <em>Radical K-O<\/em>, a show inspired by boxing and the violence that underlies it, presented as the opening act for Mois Multi in Quebec City. It was at that time that the idea of making a metal <em>Macbeth<\/em> began to germinate.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cIt started with a joke,\u201d says Pelletier.  <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWe were like, oh wow!&#8221; exclaims Pelletier. \u201cThen, once the idea was out there, we started thinking about it more seriously. Because the themes, the raw side of the work, the celebration of the occult forces, the whole mystical dimension&#8230; we thought it worked well with a metal concert.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Shakespeare&#8217;s\nshortest play, but also one of his most frequently performed \u2013 it\u2019s\nalso been fodder for numerous film adaptations \u2013 <em>Macbeth<\/em>\ntells, in five acts, how the general of the same name, pushed by his\nwife, assassinates the King of Scotland to seize power, and how, prey\nto remorse and paranoia, the couple gradually sinks into madness.<\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-1 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img decoding=\"async\" src=\"https:\/\/panm360.com\/wp-content\/uploads\/2020\/03\/macdeath-2-1024x681.jpg\" alt=\"\" data-id=\"12786\" data-full-url=\"https:\/\/panm360.com\/wp-content\/uploads\/2020\/03\/macdeath-2-scaled.jpg\" data-link=\"https:\/\/panm360.com\/?attachment_id=12786\" class=\"wp-image-12786\"\/><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The idea wasn&#8217;t to simply match the Stratford Bard&#8217;s play with a heavy metal rock score. The actors don&#8217;t only play their parts, they\u2019re also the musicians, supported by a drummer, Sam Bobony of Black Givre and Avec le soleil sortant de sa bouche, and D&#8217;Orion on electronics, taking care of the ambient sounds.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">On the other hand,\nthe musical work to which the actors must devote themselves seems to\nlead them to play differently, in a more instinctive way, their\nintellect being so to speak occupied with mastering the musical\naspect.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cFor me,\u201d continues Pelletier, \u201cit was a challenge not to just take on professional musicians. Because basically, it&#8217;s a way to provoke the actors and bring them to a level of playing where they are more fragile, more instinctive. It&#8217;s like a way of diverting their attention to achieve more authenticity.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Although sticking to\nheavy metal, the elements of the soundtrack are of quite varied\ninfluences.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cIt&#8217;s not just a\ndeath metal show,&#8221; says D\u2019Orion. \u201cThere&#8217;s drone metal \u00e0 la\nSunn O))), we also have stuff that nods to bands like Slayer or even\nMetallica.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Of course, all sorts\nof possibilities had to be explored to ensure that the dramaturgical\nelements, the emotions experienced by the characters, and the music\ncomplement one another.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWe&#8217;ve been looking really hard. I thought it was in the dialogue, but in the end it&#8217;s the music that expresses what&#8217;s going on,&#8221; Pelletier believes. \u201cThis sound represents the anguish or anger of the characters, the camaraderie, the fraternity, the pleasure and also that of a band playing together, tripping out, until everything crashes down. So in my directing, I always had to give up something in favour of music, which becomes a vehicle, a language.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, the reins\nhad to be kept tightly in hand to make sure the music didn&#8217;t deviate\nfrom the play, and yet remained true to the heavy metal aesthetic.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cA number of\ntimes,\u201d says D\u2019Orion, \u201cthe actor-musicians met up, wrote songs,\nand then they\u2019d come in and show us what they\u2019d done. So we were\npruning in order to keep a metal spirit. You have to understand that\nwe have Norwegian metal makeup. If we start doing rock \u2019n\u2019 roll,\nit&#8217;s not gonna work.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-1 is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img decoding=\"async\" src=\"https:\/\/panm360.com\/wp-content\/uploads\/2020\/03\/Macdeath-4-1024x681.jpg\" alt=\"\" data-id=\"12788\" data-full-url=\"https:\/\/panm360.com\/wp-content\/uploads\/2020\/03\/Macdeath-4.jpg\" data-link=\"https:\/\/panm360.com\/?attachment_id=12788\" class=\"wp-image-12788\"\/><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\nThe music influenced the dramaturgy of the play in such a way that it\nshaped the play even more sharply.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cIt&#8217;s really in two parts,\u201d says Pelletier. \u201cIn the first part, we&#8217;re more of a band, we celebrate in a slightly more classical way, what you&#8217;d expect from a metal concert, with beautiful costumes and make-up. After Banquo&#8217;s murder, it&#8217;s like a second show, which goes in a strange kind of radicality. It goes into nightmare. They don&#8217;t sleep and nothing&#8217;s going right for the couple.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cIn the first\npart, in fact,\u201d adds D\u2019Orion, \u201cif you have a theatre-only\naudience that&#8217;s never been to a death metal or drone metal show,\npeople will see what they&#8217;ve already imagined. They&#8217;re going to see\nexactly what we expect.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe codes have\nreally been respected,\u201d continues D\u2019Orion. \u201cWe&#8217;re in between a\ngreat show by a really famous band, and a band playing in the\ngarage.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cBut who believe in what they\u2019re doing,\u201d adds Pelletier.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWhile with the\nsecond part,&#8221; continues D\u2019Orion, \u201cwe really fall into\nexperimental theatre. Much closer to what I do. It borders on noise,\nabstraction.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThat part belongs more to the two musicians,\u201d says Pelletier, \u201cand the actors are more in their original roles. So we&#8217;re entering into something very condensed. And then, anyway, we play with the fact that people know the story.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cEveryone who saw\nour earlier versions,\u201d notes D\u2019Orion, \u201cand who knew\nShakespeare, all said the same thing \u2013 we understand, we don&#8217;t need\nanything else.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Since the first\nflash, a little over five years ago, the maturation process has been\na long one: residency in Quebec City, presentation at the Off FTA a\nyear and a half ago, then last February at the Mois Multi in Quebec\nCity, but it has paid off.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe audience might wonder how far it will go,\u201d Pelletier says. \u201cIn the stagings I&#8217;ve seen of <em>Macbeth<\/em>, the level of tension has rarely reached the level we\u2019ve achieved. And that&#8217;s through the music and the show. The intuition that we have had is used on the level of the play, it brings all the theatricality. After having had big a six-minute death metal jam, everything&#8217;s more open.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cMaybe that&#8217;s it,\nbecause we&#8217;re raw, it&#8217;s more porous. The theatricality, the tension,\nthe danger, they&#8217;re there. It&#8217;s like a new look. Because we know so\nmuch history, we need to do less. It&#8217;s what else we do that&#8217;s\ninteresting.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe second part\nis more dreamlike,\u201d he continues, \u201cthere&#8217;s hardly any script\nleft, except for a few monologues. The witches completely possess\nLady Macbeth, and then, through the possession, we finally reach a\nstripping down, strangely. All that remains is the music. We end on\nsolitude. After killing everyone, Macbeth is left alone with the\nghosts of his girlfriend and the friend he killed.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cAnyway, we&#8217;ve\nnever seen that <em>Macbeth<\/em> before. That makes it really exciting.\nIt&#8217;s a good bad scene.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe music\nprevents us from doing psychological theatre,\u201d concludes Guillaume\nPerreault (who plays Macbeth), who arrived mid-interview, \u201cand\nthat&#8217;s why it&#8217;s really successful. It&#8217;s very exhilarating for the\nactors.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For those who are\nconcerned about decibel levels, it should be noted that production\nprovides earplugs.<\/p>\n\n\n\n<iframe loading=\"lazy\" title=\"vimeo-player\" src=\"https:\/\/player.vimeo.com\/video\/389071554\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"\"><\/iframe>\n","protected":false},"excerpt":{"rendered":"<p>Pelletier and D&#8217;Orion first worked together about eight years ago, on a reinterpretation of Ionesco&#8217;s Rhinoc\u00e9ros. Some time later, in 2015, they teamed up again for Radical K-O, a show inspired by boxing and the violence that underlies it, presented as the opening act for Mois Multi in Quebec City. It was at that time [&hellip;]<\/p>\n","protected":false},"author":52,"featured_media":12811,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false,"_crdt_document":""},"categories":[4628],"tags":[],"genre":[4420],"class_list":["post-12816","interviews","type-interviews","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews-en","genre-metal-en-rock"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.1.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Macdeath: An Excellent Nightmare - PAN M 360<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/panm360.com\/en\/interviews-panm360\/macdeath-an-excellent-nightmare\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Macdeath: An Excellent Nightmare - PAN M 360\" \/>\n<meta property=\"og:description\" content=\"Pelletier and D&#8217;Orion first worked together about eight years ago, on a reinterpretation of Ionesco&#8217;s Rhinoc\u00e9ros. 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