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Theatre EX MACHINA (Quebec, Canada), Theatre sans Frontieres (Newcastle, Great Britain)
Director Robert Lepage
Text Carlos Belda, Rebecca Blankenship
Performers Frederike Bedard,
Dramaturgy Consultant Marie Gignac
Assistant Director Felix Dagenais
Set Designer Jean Hazel
Lighting Designer Etienne Boucher
Costume Designer Yasmina Giguere
Props Designer Virginie Leclerc
Assisted Jeanne Lapierre
Images produced Jacques Collin
Wigs Richard Hansen
Creative Collaboration during rehearsals Sophie Martin
Robert Lepage's agent Lynda Beaulieu
Production and tour Manager Louise Roussel
Technical Director Paul Bourque
Lighting Manager Laurent Routhier
Sound Manager Stanislas Elie
Video Manager David Leclerc
Wardrobe and Prop Managers Sylvie Courbon, Virginie Leclerc
Head Stagehand Anne Marie Bureau
Stagehands Simon Laplante, Eric Lapointe
Technical Consultants Catherine Guay, Tobie Horswill
Set Design Collaborators Thomas Part, Carl Fillion
Music Bist du bei mir by J.S.Bach
Do you know the way to San Jose? & The Look of Love by Bacharach / DavidLe petit berger by Debussy
April in Paris by Duke / Harburg
Recorded voices Adrian Egan, Philip Graeme, Mary Harris, Helen King, Rick Miller
Set building Astuce Decors, Les Conceptions Visuelles Jean-Marc Cyr
Seamstresses Janie Gagnon, Annie Simard, Sophie Royer
Video footage production

An Ex Machina / Theatre Sans Frontieres production in association with Cultural Industry Ltd and Northern Stage

Lipsynch is an exploration of human expression through voice, word and language. It touches on postsynchronization, voice synthesizers, operatic song. babies crying, voice detection and many other vocal phenomena. The work takes the form of a succession of people from many backgrounds whose path are destined to cross, while every voice seems to be on a quest for its own identity. In its range, humour and polyphonic variety, Lipsynch is reminiscent of American filmmaker Robert Altman's most ambitious projects, in which individual stories engage with the human Story.

Robert Lepage staged Lipsynch as a saga about time and the God-forsaken mankind. About the people who are desperately clinging to what is utterly transient: the voice, the sound, the memory… Time and again the characters ponder over the meaning of existence, but, like most of us in real life, they are essentially inconsistent: Lepage is not only delicate and indulgent; any form of affectation is for all intents and purposes alien to him. And therefore he can afford a striking and dramatically risky final scene, performed to the divine voice of the son’s foster mother, when he lifts and takes into his arms the body of his real mother whom he has never seen. It is a kind of Pieta turned inside out and this magnificent and prolonged Lipsynch culminates in the moment when the small female wrist drops – the gesture both powerless and full of power.
Roman Dolzhanskiy, Kommersant, 07.11. 2008 

Date - July 25 (beginning at 1 p.m.; 1-st, 2-nd, 3-d parts), 26 (beginning at 1 p.m.;1-st, 2-nd, 3-d parts), 28 (1-st part), 29 (2-nd part), 30 (3-d part), August 1 (beginning at 1 p.m.; 1-st, 2-nd, 3-d parts), 2 (beginning at 1 p.m.; 1-st, 2-nd, 3-d parts)
Petr Fomenko’s Workshop Theatre
9 h