Les marques de modernité dans Les Fridolinades de Gratien Gélinas
This memoir focuses on the signs of Modernity at the end of year reviews Les Fridolinades, presented between 1938 and 1946, as well as in 1956, by Gratien Gélinas. A great number of characteristics of these shows lead us to believe that the theatrical Modernity was present on the Montreal stages as soon as the end of the 1930s. Although the end of year review has not preoccupied very many university researchers, Jean Cleo Godin, Jean-Marc Larrue and Germain Lacasse took interest in the Modernity of such a practice. Their hypothesis’ will first be explored. It is also because of the themes treated by Gélinas in his shows that it is possible to see modern ideas. Indeed, the reviews treat women’s rights, the Catholic church’s discourse, and they parody the popular outdated discourse of the time, all the while staging technology. Gratien Gélinas’s character, Fridolin allows the transformation of the mimesis concept. Instead of the traditional illusion, the playwright creates the participatory illusion. In other words, he lets the audience believe that it influences the creation of the show by interacting with it. Finally, as heteromorphs, Gélinas’ shows are reminders of certain forefront preoccupations. The reviews Fridolinons, are a hybrid show that intertwines singing, dancing, dialogue, monologue, mime, cinema, radio and written press.
Gratien Gélinas Les Fridolinades Quebec literature Quebec Theatre Passing shows