Bøger af Michel Tremblay

Survive! Survive! transports readers to September 1935, to glorious, tragic times in the colourful company of Ti-Lou and "the Duchess" Édouard, whose sparkling exchanges hide indissoluble pain; to sombre, twilight times with Victoire and Télesphore at the bottom of the ruelle des Fortifications, and between Josaphat and Laura Cadieux, his ill-fated daughter who wants at all costs to find her mother, Imelda Beausoleil. "How to survive?" they all ask, inextricably caught in life's cycle of lost illusions and forgotten dreams. Even as this chronicle of resilience dwells in the difficulties and disenchantments of ordinary life, it reveals existences that accommodate a happiness that passes - always too fast and almost too late.The series closes with Crossing the Gulf of Misfortune, whose action unfolds in August 1941, when the families of Nana and Gabriel unhappily cram together in a new apartment. Nana, inconsolable after the loss of her two eldest children to tuberculosis, is forced to live with Victoire and Édouard, as well as with Albertine, her husband Paul, and their children, Thérèse and baby Marcel. Outside this unbearably crowded household, war rages and rationing deprives everyone of basic necessities.These characters don't know what readers of Tremblay do: that in a year, in May 1942, Nana - the Fat Woman Next Door - seven months pregnant, will open the fabulous Chronicles of the Plateau-Mont-Royal ...

At the crossroads that lead to the end of childhood, Nana faces the hectic passage of her adolescence and the new responsibilities that fall on her shoulders when her grandmother Josephine approaches death. In parallel, Nina's rebellious mother Maria, languishes back in Montreal, torn between conflicting desires.

New translation of Tremblay's moving portrait of an extraordinary "ordinary" woman in this Chalmers Award-winning play. Cast of 6 women.

A fusty academic falls in love with a young actor who also has a four-year-old son.

It¿s May 1922, wedding preparations are in full swing, and old memories, past desires, and big regrets threaten to turn the big celebration into a big melee.

This play takes a crate of gift stamps, a Montreal kitchen, and 15 women, and mixing fast-moving dialogue, monologue and chorus, produces a critique of "women's place", Quebec society, and modern consumerism.

In the second in the "Notebook" trilogy, Celine becomes hostess in a transvestite bordello, flourishing amid a community of others.

A remembrance of childhood in Montreal's Plateau Mont-Royal neighbourhood, recrafted for the stage. Cast of 3 women and 4 men.

In Act 1, Claude, 55, visits his father Alex, 77, in an Alzheimers ward, intimately tending to his silent, vacant fathers bodily needs while hopelessly trying to reach him with monologues and settle misunderstandings. In Act 2, in an eerie reversal of roles, Alex visits Claude in the same ward, similarly finding disconsolate irony where he had looked for forgiveness.

An evocative account of romantic adventure stamped with Tremblay's signature wit and ironic humour.

Albertine, Tremblay's most unforgettable heroine, sets out to re-conquer her lost beau. Cast of 3 women and 2 men.

In Birth of a Bookworm, Michel Tremblay takes the reader on a tour of the books that have had a formative influence on the birth and early development of his creative imagination; the physical and emotional world of his childhood is celebrated as the fertile ground on which his new, vivid way of seeing and imagining is built.

An opera diva newly returned from Paris, her celebrity mother and idealistic daughter. Cast of 3 women and 1 man.

An account of Michel Tremblay's discovery of theatre, from his first recognition of the imagination to his first drama-competition win.

This fourth novel in the "Chronicles of the Plateau Mont-Royal" follows Edouard, the fat woman's brother-in-law, as he explores Paris.

This is the third volume in Michel Tremblay's Chronicles of the Plateau Mount-Royal.

Tremblay recounts, with grace and tenderness, his mother's death as a coda to his Chronicles of the Plateau Mont-Royal series.

For the Pleasure of Seeing Her Again is Tremblays homage to his mother, who nurtured his imagination, his reclusive reading habits and his love for the theatre and the arts, yet who did not live to witness the performance of Les Belles Soeursthe first successful play written in joual with which Tremblay legitimized the Quebecois vernacular in the artsand the world-wide acclaim for her sons artistic genius. In a compelling balance of humour and poignancy, Tremblay offers glimpses of himself and his mother at five different stages of their lives together, culminating in his reassurance of his dying mothers concern for him immediately prior to his spectacular success.

Autobiographical pieces about how movies shaped the life of young Michel Tremblay, who later became Canadas most important playwright. Among others, he talks about Twenty Thousand Leagues Under the Sea, Cinderella, Snow White and the Seven Dwarves, Parade of the Wooden Soldiers, Orphe and The Night Visitors, and about how each led to his discovery of his emerging emotional sensibilities.

It is June 20, 1952, a decade after the events described in The Fat Woman Next Door Is Pregnant, the first volume of Michel Tremblay's series of autobiographical fiction. The mystic, yet palpable instant of summer's arrival is experienced simultaneously by the fat woman's son (who is never named) and Marcel. These moving, profoundly different epiphanies of a transforming world, seen through the memories of the characters, set the stage for the action of the novel which takes place in the space of this single, evocative day. The fat woman's son experiences this moment as an episode of profound personal objectification - he sees himself as in a photo of that larger, inclusive moment. Marcel, on the other hand, literally seizes the moment, and stores it in his school bag as a physical thing. It is also the day of final exams at the Ecole Saint-Stanislas where the fat woman's son, a boy who lives inside the books he loves, is in the "gifted" class, and his cousin Marcel, the "mad" family terror, is in the class for "slow learners". Racked by envy at what he sees as Marcel's genius - his ability to create and function in another dimension of reality - the gifted child blanks out during the French exam. The first quarter of the moon - which rises over the final scenes of the novel in which the fat woman's son recognizes and acknowledges his cousin Marcel's genius - is an exquisitely crafted and resonant metaphor for the symbiotic relation between the imaginary and the real, the privileged "educated elite" and the "great unwashed", innocence and experience, sanity and madness.