What is needed for
To life which meddles in everything.
To the wind giants that we are.
To time which skips its turn too fast.
To existence which exhales, which crosses, which sads,
which exults, which at all costs.
A human-scaled playground is deployed for the one who is only a few thumbs high
but for which life is depicted in the image of mankind’s, in all its splendor and its cruelty. A battleground in the image of the one that accommodates him in the end.
Liven up to him.
And lives.
Too.
Who, really, in the end, controls the situation?
Strict Minimum is a creation combining theatre and puppets. A solo show establishing a dialogue between the puppet, the body becoming moving scenography, and the manipulator. A simultaneous twofold story is woven, telling the turning points of existence, of a being half-animal, half-human, in simultaneity with the scenographic and narrative deployment of the manipulator, depending on the situation. The critical steps, important transitions in our progression and trials to overcome of the protagonist take the manipulator by storm. Imagination, ingenuity and sensitivity coming together at a balance point binding theatre, manipulation and body.
«Vicky Côté is really talented and her performance in Strict Minimum just proove it. While she gives distinct lifes to her both hands, she keeps a constant balance between acting and manipulation»
– Joël Martel, Le Quotidien, septembre 2012
“Vicky Côté is the creator and manipulator of this delicious play (…) Very few puppeteers can play a show so close to gestural theatre being so much natural as her.
She creates expectations, breaks the rhythm and finds herself doing absurd and hilarious positions. (…) At one point, when this situation seems to be over, a new story begins. Vicky Côté stays no longer at the foreground. Another glove-animal appears on stage (on her left hand) and the drama focuses on their little and very human story.
– Cesc Martinez, Puppetring, Puppet, shadow and marionnette magazine, 2012
« There’s here an ontological relation otherwise more fondamental in the visual and intellectual plans than the superficial and touristic relation that they’re trying to sell to us as interactivity , often insignificant, with the public.
(…)
Each of her play is a relevant statement that bring us far away from entertainment kindness : relevance of body and gesture in the strength without compromise or precaution for public of a presence to the world that can also be considered as perspicacity. But it’s the life’s quiet violence when it appears in the volvelty of every moment . »
– Jean-Pierre Vidal, Zone Occupée art magazine, 2013
Created by/ Performed by/ Various designs
Vicky Côté
Directed by
Mélanie Charest & Vicky Côté
Movements consultant
Valérie Villeneuve
Download technical informations
Awards
“Creative award”, Nanchong international puppetry festival, China (2014)
On the road… some places and festivals
La Puntual, Barcelone (2019)
Off de rue de Charleville-Mézières (2019)
Théâtre du Bic (2017)
Teachers Club, Dublin (2016)
Lamouroux, France (2016)
Casa-Taller Pepe Otal, Barcelona (2016)
Maison Théâtre, Montréal (2015)
Le Cercle, Québec (2015)
Centre d’exposition, Rouyn-Noranda (2015)
Théâtre du RIFT, Ville-Marie (2015)
Dong Deng, Laos (2015)
Titein, Myanmar (2014)
Nanchong international puppetry festival, China (2014)
Teatro Libélula Dorada, Bogota, Colombie (2013)
Mapa Teatro-Centro de artistas, Bogota, Colombie (2013)
Teatro de Garaje, Bogota, Colombie (2013)
Festival MiMa, France (2013)
Festival Les Trois jour de Casteliers, Montréal (2013)
Saguenay tour (La Baie, Dolbeau, Ste-Rose-du-Nord, Anse-St-Jean, St-Félicien)
Théâtre Mic Mac, Roberval (2013)
Flashe Fête, Alma (2013)
International puppet festival, Saguenay (2012)
Salle Murdock, Chicoutimi (2012)
Photo credit
Patrick Simard
