The AFTC Celebrates 20 Years : From Solitude to Solidarity

by André Lavoie
translated by Andrée McNamara Tait

Within the borders of the “other solitude” lives a third one... In Canada, in large cities or in the heart of small communities, more than a dozen francophone companies create theatre that mirrors or challenges their audiences. Long isolated from one another, 11 companies decided, in the fall of 1984, to get together under the same linguistic banner. Twenty years later, there are 14 member-companies spread across the country. Now, more than ever, there’s safety in numbers.

Breaking isolation, obtaining better government support, bringing culture to their surroundings, these were the goals set out by the founders of the Association des théâtres francophones du Canada (ATFC). Among the founders were director Brigitte Haentjens, then Artistic Director of the Théâtre du Nouvel-Ontario in Sudbury, and Jean-Claude Marcus, one of the founders of the drama department at the University of Moncton and then Artistic Director of the Théâtre jeunesse du Théâtre français at the National Arts Centre in Ottawa. At that time, the situation was easy to assess: apart from a few institutions like the Cercle Molière in Saint-Boniface, Manitoba, founded in 1925, most companies were young, struggling, and with no permanent home.

This “homeless” situation has slowly been resolved – many companies having succeeded in building or renovating their space while others, such as francophone companies in Ottawa, took turns sharing the same space, that of La Nouvelle Scène. Often working in the shadows of their fellow artists in Quebec, neglected by the federal government, all but ignored at the provincial level, the companies succeeded, in just a few years, in turning things around and dispelling many prejudices.

The companies have now set their sights on new horizons. Even though “francophone artists never start off ahead of the game,” says Alain Doom, General Director of the ATFC, “their work is more and more recognized and respected.” Guy Mignault, head of the Théâtre français de Toronto and President of the ATFC for the past three years, also sees the great strides taken. “The companies have evolved at a phenomenal rate. I have often been told that the Théâtre français was a pleasant low-key company that has now become more serious. The same can be said of all our members. We have acquired our professionalism not only thanks to our work, but also to the exchanges between companies, the festivals, and workshops that nourish our theatre practice.”

This effervescence is reflected across the board, enabling the emergence of playwrights such as Jean-Marc Dalpé in Sudbury during the 1980s and more recently Marc Prescott in Saint-Boniface, and Stephan Cloutier in Vancouver. Tighter bonds between artistic directors enrich their programming, thus giving certain productions a longer run and larger audiences. Robert Bellefeuille, Artistic Director of the Théâtre de la Vieille 17 in Ottawa, affectionately calls this “the cousins’ tour!”

Even though the situation has greatly improved over the past 20 years, ATFC members still face certain difficulties inherent to their geographical situation. “In Saskatchewan,” says Denis Rouleau, Artistic Director of the Troupe du jour de Saskatoon, “we are the only francophone company. You have to work very hard to be acknowledged. We have to write our grant applications in English so that someone can read them.” This monopoly, practiced by default, does not necessarily mean that all francophones are a captive audience. “We cannot take anything for granted,” says Roland Mahé of the Cercle Molière. “Like everywhere else, it is very difficult to reach the under-30 audience. Moreover, we are competing with many things, including anglophone theatre, since all of the francophones in our area are bilingual.”

However, the anglophone theatre community also appreciates the dynamism of its francophone colleagues. Marcia Babineau of the Théâtre L’Escaouette in Moncton is delighted to see the works of Acadian artists translated into English. In Vancouver, Craig Holzschuh of the Théâtre La Seizième is working on a production of Shakespeare’s La Tempête (The Tempest) rewritten by John Murrel in several languages (French, English, and Native languages). Other companies, like La Troupe du Jour, do not hesitate to present the plays of regional anglophone playwrights translated into French and depicting a reality that the audience is very familiar with, no matter what language they speak.

Beyond a common language and concrete political demands, the members feel connected by their passion for theatre, first and foremost. For theatre artisans, the creation of Chantiers-Théâtre, a forum for training and exchanges organized every two years, and the workshops that the National Theatre School has offered for the past five years nourish their artistic journey. These events must also serve to consolidate what the artists have acquired. “We need many successors to Jean Marc Dalpé,” says Alain Doom. “To achieve this, we must increase our pool of artists within the communities, find ways for them to live, work, and flourish in their milieu. That is one of our greatest challenges.”

The General Director has been working in that vein since his arrival in May, 1999. Other projects will soon come to fruition, such as the upcoming opening of a Montréal office. Certain initiatives are even the object of envy: “I have already heard Quebec companies complain because they cannot participate in our activities!” explains Marcia Babineau. United they stand… even if it means standing up to envy!

NB: A study detailing the ATFC’s 20 years, written by Marc Haentjens, a cultural consultant with ACORD (research consultants) will be published shortly.

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