Equipped with teleprompter glasses, Catherine Dorion and Christian Lapointe take on Simon-Pierre Beaudet’s text, transforming it into a performance that moves between cynicism and exhilaration.
From the Arab Spring to Donald Trump, from the promises of Silicon Valley to digital addiction, from the carefree spirit of millennials to the next generation’s climate anxiety, Hubris shows, without making an argument, how we got here. In Simon-Pierre Beaudet’s words, it is “a global history, but seen from here,” watched as it unfolded on our phones, at breakneck speed and without our always grasping its meaning. Populated by popular movements, disillusioned commentators, authoritarians in pursuit of power and digressions that distract us from what really matters, this narrative, permeated by hubris—pride, arrogance and excess—reads like a prelude to the new world disorder. Equipped with teleprompter glasses, Catherine Dorion and Christian Lapointe allow themselves to be carried by this score and its haunting leitmotifs. In their hands, Simon-Pierre Beaudet’s text becomes a performance full of sound, fury and hope, moving between cynicism and exhilaration.