CLAIRE DERRIENNIC
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Mongolia Snapshots

5/25/2025

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Downtown Ulaanbaatar with Matt's cousin Jessica
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With Odko and Zoloo at the Chinggis Khan statue
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My first Bactrian camel
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Riding horses at Yoliin Am Gorge
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Yoliin Am Gorge
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Inside Yoliin Am
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Bayanzag, the discovery site of petrified dinosaur eggs
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With Matt in the Gobi desert
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In front of a Ger
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Cuddling a baby goat
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Preparing Mongolian barbecue (khorkhog) with our driver and nomadic hosts
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Admiring baby Bactrians in the Gobi desert
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Breakfast in Gobi
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Blond Bactrian
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Post sand dune exhaustion
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Sunset at Khongor Sand Dune
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Fall(oon)

5/25/2025

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Actors Tuju and Odko pose with set pieces
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Celebrating our premiere with Bamboo Artistic Director Uyanga and her baby
My stop in Ulaanbaatar, Mongolia was the final stop of my fellowship and one of the busiest. 

A year ago, I met Uyanga Ayurzana at a conference. When I learned that she was the founder and artistic director of Bamboo Theatre- a theatre for young audiences in Mongolia- I immediately approached her (I secured TWO of my five stops by cold-approaching people that I didn't know so let this be a lesson to other anxious people that this unfortunately works). 

In a testament to her open-mindedness, Uyanga agreed to host me in UB. On zoom, we decided that I would create a new play for audiences under the age of six. Bamboo Theatre has a "baby play" for every season: winter, summer, and spring. All that was missing was fall. 

When I arrived at Bamboo, I quickly realized that the team was talented and well-experienced in developing new plays. They performed several shows a day on top of administrative duties and side projects like participating in The Voice Mongolia or starring in a television show. I felt honored and intimidated to direct such established artists. 

We rehearsed four days a week for several hours a day, racing to explore our theme and structure a new play in six weeks. 

Luckily, my collaborators were full of amazing ideas. We started working with a broader company, then narrowed down to my three ride-or-dies: Odko, Zoloo, and Tuju. 

By early May, we landed on a surprising premise- Fall(oon)- a play about fall made of balloons. Uyanga hired a composer, Nurlan, and a designer, Zombaa. 

We premiered Fall(oon) just a day before I had to leave Mongolia. At my farewell dinner, I felt so proud of everyone and so lucky to have been given the chance to create something new. Not only had the whole team put in hours and hours of work into our project, they had picked me up from my airbnb every day, helped me book a tour of the Gobi desert, and taken me out for drinks and countless midday iced coffees. We had overcome a tight timeline and language barriers to make something truly special (poor Zoloo's brain was about to explode from the effort of translating back and forth between me and Odko). 

Now, Fall(oon) will be a permanent part of Bamboo's repertory, and we are already scheming about when we can see each other next, hopefully at a festival, or for a new project in the US! 

Meeting theatre artists from around the world has been one of the most rewarding parts of this fellowship- and leaving them behind has been one of the hardest. 
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Members of the Fall(oon) team. L-R: Odko, baby Barkhas, Uyanga, me, Zoloo, Kha, and Tuju
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From Senegal with Love

3/14/2025

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Dakar sunset 1
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Dakar sunset 2
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Matt discovers his new favorite food, Maafe cooked by Momo's mom.
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Cheb u jen (rice and fish) served by our airbnb host/friend, Zoumana.
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Visiting the African Renaissance Monument with CLV counselor Momo and his fiancée Adja
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One of many stray cats
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I bought this dress from a talented tailor named Faza
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Free roaming cattle in Toubab Dialaw
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Interning with Association Djarama and Tof Théâtre

3/13/2025

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In a seven-seat taxi on the way to rehearsal. Back L-R: Astou, Abdoulaye, and Zeynabou. Middle L-R: Nicolas, me, Sandrine, and Sandrine's daughter, Jade. Alain and our driver Abdoulaye were up front!
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Astou rehearses with the Mame Boye puppet, a character she originated with Djarama and Tof Théâtre.
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Mame Boye before the show.
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Running the sound board from the wings.
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Hello my loyal readers- we are now midway through March and two months away from the end of my Dietrich fellowship! Time flies when you’re eating rice and fish.
 
Having arrived in Senegal in early February, I interrupted my city girl lifestyle in Dakar to intern with Association Djarama in Toubab Dialaw.
 
Founded by Mamby Mawine, Djarama runs artistic, environmental, and educational programs promoting self-sufficiency among Senegalese youth. Djarama is building a theatre for youth network from the ground up in Senegal, booking shows by international artists and producing its own original work.
 
On its two sites, Djarama accommodates a never-ending stream of visitors and volunteers. I joined a group of French civil service volunteers, an Ivorian sports education intern, and current and former employees in Djarama’s dormitories.
 
Soon, a group of artists from Belgium’s Tof Théâtre arrived. Artistic director Alain Moreau is a longtime collaborator. Alain and his fellow artists Sandrine and Nicolas had already worked with Astou, a member of Djarama's Yakaar program, which trains youth from disadvantaged backgrounds in the performing arts. Astou had traveled to Belgium to develop a play about dental hygiene, which she performed with Sandrine in December. 
 
During their latest residency at Djarama, Tof trained a second member of Yakaar, Zeynabou, to replace Sandrine in the show. For ten days, Astou and Zeynabou rehearsed and expanded the  performance. Originally an observer, I ended up operating the sound board.  
 
I appreciated many aspects of the processs- the important role played by Senegalese women Mamby, Astou, and Zeynabou, Alain’s yearslong dedication to meaningful collaboration and material support of Djarama’s mission, the rigor the artists demonstrated in their attention to detail, and the irreverent puppetry style.
 
I was joined by another intern, Abdoulaye, an actor from Casamance, a culturally distinct region of Senegal. Abdoulaye had received a grant to learn about puppetry so that he could create his own puppet show warning of the dangers of land mines.
 
In conversations with Abdoulaye and others, I observed the centrality of “sensibilisation” (raising awareness) in the Senegalese conception of theatre for young audiences. Though Tof Théâtre doesn’t usually produce educational work, Djarama insisted on a pedagogical message in their coproduction- hence the toothbrushing storyline.
 
As a teacher and playmaker, I was interested both in the educational focus of the work and the methods being used to train and direct Astou and Zeynabou as young performers. Reflecting on my recent experience in clown school, I am thinking a lot about artistry, efficacy, rigor, and the role of positive vs. negative feedback.
 
The final showing of the play was a success, and I am now back in Dakar after two weeks of puppetry and sharing a shower with a particularly fat mouse. Ramadan is well underway, and our generous Airbnb host has already invited Matt and I over for ndougou (the Wolof word for breaking the fast).
 
I have three more weeks to enjoy Senegal before moving on to the final stops of my journey- Turkey and Mongolia!
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This mouse lived in my shower in Toubab Dialaw and I was not chill about it.
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It is a Flop

2/4/2025

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My class and our instructor, Carlo Jacucci, on the final day of a 10-day clown intensive at École Philippe Gaulier
Before my 10-day clown intensive in Étampes, I did little research other than reading a 2022 New York Times article, “The Dumbledore of Clowning.” The subtitle read: "The French master teacher Philippe Gaulier has worked with stars. But at 78, are his methods, which include insults, outdated?" 

On a personal level, I was terrified. As an educator, I was skeptical. At Lac du Bois, we train counselors to encourage villagers through positive reinforcement. What is the role of negative feedback- even insults- in good teaching?
​ 

On the first day, the morning session put me at ease. Our instructor, acrobat Juri Kussmaul, describes his own teaching as follows: “Through a playful, safe and process oriented approach we’ll discover freedom while broadening our physical and mental limitations, turning anxiety into excitement.” This was the kind of teaching I was used to- gently supporting students to speak French or perform improv for the first time. ​
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Some partner acrobatics during our morning movement class
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I was assigned the costume of a Carmelite nun
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On the last day, we switched costumes and I impersonated Sophie's garden gnome
Then it was time to clown. Our teacher, Carlo Jacucci, told us to go onstage one by one. Wearing a mask and doing a funny voice, we would attempt to make the audience laugh. If we failed, he would bang a drum and send us offstage. 

I was scared in an ice-in-your-veins kind of way. I watched as my classmates did their best. More often than not, Carlo banged the drum. 

“It is a flop” 
“Who told you to do that?”
“Who wrote this play?”
“Is it a joke? Then why no one is laughing?” 
"Look at the clock. This is the worst moment of the day."


Sometimes he would turn to the audience to confirm his assessment. 

“Raise your hand if you are bored.”

“In Berlin, after Christmas, they feed the dry Christmas trees to the elephants in the zoo. Claire- would you rather eat a dry Christmas tree or spend another five minutes watching these two?” 

I managed to delay my torture until the following day. That evening, I made fast friends with my fellow victims- comedians, actors, and brave laypeople from the UK, Ireland, Australia, and the US. Some of us agreed that we would never teach this way. What was the use of criticizing students without showing them how to succeed? One classmate, Sophie, made an interesting point. “It’s kind of nice to be told when something isn’t working. I feel like people rarely tell you that.”
The next day, I couldn’t hide any longer. I put on a mask and before I had even made my official entrance, I had made the audience laugh. The thrill of success hit me like a lighting bolt. I was hooked. I got a second laugh. Then it was time to enter for real. Once onstage, it was a flop, a catastrophe. I was drummed off. I sat down somehow feeling that it had gone well. 

For the remaining nine days, I experienced frustratingly nonlinear growth. Sometimes, especially when I was caught up in a game or the thrill of the moment, I was funny. Often, I was not. I was in my head. I was no good at voices. Flop, flop, flop. 

I watched my classmates fail repeatedly. Carlo mixed in suggestions with his insults. Look at the audience. Be an optimist- believe that this is the funniest thing anyone has ever done! Don’t play a character. Be specific. Do something special. Have many stupid ideas. Some of my classmates went from performing in dead silence to provoking uproarious laughter. One or two came in funny and left funnier. Most of us were funny sometimes. 

I left hungry for more. I felt a sense of community in this weird world where we wore red noses and learned how to do handstands on each other’s knees and they sold us soup for three euros for lunch. It reminded me of the first time I went to Lac du Bois as a teenager- both the weirdness and the intense sense of belonging. 

As for teaching with insults, the intensive reminded me not to make absolute statements (“insulting your students is poor teaching”) because some odd situation will come along and introduce a perplexing counterexample.

In many ways, Carlo was modeling Gaulier’s concept of complicity. The twinkle in his eyes let us know that he was on our side. The insults were to make us laugh, to make us better. We were playing a game. It’s not so different from CLV and our grand simulation, after all. “This is France” "Your name is Clementine now" wink wink, nudge nudge. 

I won't return to Lac du Bois and tell new monos that their lesson plans are a catastrophe or tell villagers that listening to them speak French is the worst moment of my day, but I’m maybe a little more comfortable with failure and a lot more excited about clowning. Overall… it was a flop, but in a good way. 
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It's unclear why I am smiling in this picture, as I was failing miserably at the time it was taken
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Pen Pals on Tour

11/27/2024

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When best friends Squiggle and Square are separated, they write letters to stay in touch.
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Chaotic Squiggle and meticulous Square have different approaches to letter-writing...
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I haven't blogged in a while. You know how it is when you drive from Rimouski, Quebec to Montréal, to Long Island, to Washington DC, to Dulles International Airport and then you get on a plane to Madrid and then take a train to Murcia and then have two weeks to make a play for ages 0-5 and submit your master's thesis. It's been a whirlwind and a blast, and I am endlessly grateful. 

I met Meg Lowey in 2017 when we both worked at Imagination Stage, a theatre for young audiences in the DC area. We've kept in touch since then, even after Meg moved to Spain. She now lives in Murcia and works for ARENAaprende, a company that offers performances and drama classes in English to young people in the region. When I was awarded the Dietrich Fellowship, Meg and I decided to adapt the story of our friendship into a performance for very young audiences in Spain.  

While I was in Canada, we met virtually to develop the script. After I arrived in Murcia, we worked almost every day to prepare for our premiere. Meg made and bought all of our props and costumes with a limited budget- she is truly a one-woman band and a marvel. I've been so lucky to have her as a collaborator and guide during this stop on my trip. 

We premiered our show on Saturday, November 23 at Teatro De Romea, a beautiful theatre in downtown Murcia. We also performed for a test audience of Meg's friends and a class at ARENAaprende. Yesterday, we took our show on the road to a preschool in the nearby town of Águilas. My partner Matt and his visiting friend Connor graciously rented a car and drove us, and we were all able to do some sightseeing before we headed home. 

We've got more shows coming up and I'm excited to see how the play continues to develop! For now, my attention is turned to my master's thesis defense next week. By the time I head home for Christmas, I will have a master's degree and a new play under my belt! But this is only stop 2 of 5... clown classes, two internships, and another play are still to come before I'm back at Concordia Language Villages for my tenth summer on staff. 
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Sunny Águilas
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Castillo San Juan de las Águilas
​I can't get over how lucky I am to have these experiences. Even when I am am gnashing my teeth over my defense powerpoint (how do I condense 70 pages into 15 slides?!), I'm grateful for every second. 
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Quebec in the Fall

11/27/2024

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My neighborhood in Montréal and Parc la Fontaine
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The Road to Québec City and Québec City
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Parc National du Bic and
​ the Premiere of Joséphine et les grandes personnes
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Joséphine et les grandes personnes team members in the Parc National
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The director of Joséphine, Marie-Eve Huot, goes on a well deserved walk after the dress rehearsal.
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A Celebration of Dissidence

10/9/2024

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M. Qui veut dissider avec moi?
P. Moi!
M. Tu veux dissider?
P. Oui!
M. Ok, tu dissides.
P. Je décide quoi?
M. Pas « décide » : « disside »
P. Je disside quoi ?
M. C’est à toi de decider ce que tu dissides
P. …Je veux plus…
M. Décider ou dissider ?
P. Les deux.
M. Alors tu dissides un peu.
P. Non ! Je veux pas dissider.
M. Trop tard : en ne voulant pas décider, tu décides de dissider la décission.
P. Noooooooon !
M. Pas facile de dissider
​M. Who wants to dissent with me ?
P. Me !
M. Do you want to dissent ?
P. Yes !
M. Ok, dissent.
P. Decide what ?
M. Not « decide » - « dissent »
P. Dissent what ?
M. You have to decide what you dissent from.
P. … I don’t want to…
M. Decide or dissent ?
P. Both.
M. So you dissent a little.
P. No ! I don’t want to dissent.
M. Too late- by not wanting to decide, you decide to dissent from the decision
P. Nooooooo !
M. It’s not so easy to dissent.
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-Excerpt from Une petite fête- Cabaret de la dissidence (The Little Cabaret- A Celebration of Dissidence) at Le Carrousel
 
Hello everyone from Montréal.
 
I’m sharing a snippet of the play currently being staged at my internship. I’ve been observing rehearsals of Une petite fête. I’ve also been writing my master’s thesis on theatre and social change- 13,000 words and counting. 
 
As usual, the world is both beautiful- red maple leaves! a trip to Toronto! - and sad.
 
Though I didn’t know François Fouquerel as well as many at CLV, my thoughts are with his family and the many community members who will miss his mentorship and humor. It’s strange to think he won’t be in Lac du Bois’s kitchen next summer, sharing meals that remind him of his own French childhood, and taking his staff on picnics.  
 
I’m thinking also of other sadness in the world- brutal hurricanes caused by climate change, deadly wars, a genocide funded by our own government.
 
I feel powerless, so privileged, sometimes hopeless.
 
adrienne maree brown, a scholar of social change, writes, “The whole is a mirror of the parts. Existence is fractal- the health of the cell is the health of the species.”

If the whole is a mirror of the parts, tiny changes radiate out into the wider world. Someone like François, who built community throughout his life, makes a small, important change.
 
I’m trying to nurture hope in the small things, like supporting a play that encourages children to speak out and question authority, to dissent. I'm grateful for many opportunities and joys. 
 
Petit à petit,
 
Miel

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Trying a beaver tail for the first time in Toronto
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Poutine from La Banquise, a highly recommended spot
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My camera roll is full of pictures of Montréal's row houses
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Follow the Fellow: The Blog Returns!

9/18/2024

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At Lac du Bois in 2023
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View of the basilica on a lunchtime walk
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A common sight as I write my master's thesis while here
It's the moment you've all been waiting for- Follow the Fellow is back! As Concordia Language Villages' 2024-2025 Dietrich fellow, I have the opportunity to travel for nine months, and the chance to share it with you here. Thanks to Mary Maus Kosir, the selection committee, and David "Dietrich" Oprava for making this possible. 

A little about me: My name is Claire "Miel" Derriennic. I have worked at Lac du Bois Bemidji as a counselor and leadership staff member since 2014. The end of this fellowship will mark my 10th summer on staff! In real life, I'm a theatre maker and teacher. I just earned my K-12 drama teaching certification and completed a Master's in Fine Arts in Drama and Theatre for Youth and Communities at the University of Texas at Austin. Actually, I have completed everything except my thesis, which I am currently writing in various cafés across Montréal. 

Between September 2024 and May 2025, I will travel to five countries: Canada, Spain, France, Sénégal, and Mongolia. 

My boyfriend, Matt, and I have been in Québéc's largest city for 10 days so far, and we'll stay for a total of 7 weeks. I'm interning at a theatre for young audiences called Le Carrousel. Le Carrousel develops French-language performances for children and tours them throughout Québec and the world. Artistic Director Marie-Eve Huot is currently directing Joséphine et les grandes personnes (Joséphine and the grown-ups), a two-woman play for 7-12 year-olds. A self-proclaimed life coach for fellow children, Joséphine shares advice for dealing with adults. I've been lucky enough to observe rehearsals, projection meetings, and costume fittings of the show so far. I truly love it (not always a given!) and am excited to follow it into a workshop week at La Maison Théâtre, a large presenting house in Montréal. After La Maison Théâtre, the show will move to Théâtre du Bic, a beautiful theatre located near a national park a five hour drive away. In the spring, Joséphine will tour in France, and I may have the chance to see it while I'm there!

Marie-Eve is also remounting a piece for ages 5-8 called Une petite fête: Cabaret de la dissidence (A little party: Cabaret of dissidence). I'm excited to observe the process in October. 

I also attended a TYA new play festival at La Maison Théâtre this week. I'm enjoying getting to know the robust TYA scene in Montréal. Matt is taking drawing and French lessons, and trying a large number of cafés. Both of us have walked around our neighborhood- Les Faubourgs-as well as through Old Montréal, around McGill University, through the Latin Quarter and the Theatre District, and in a beautiful nearby park, La Fontaine. We also went to the second-best cocktail bar in Canada, Bar Cloakroom, and tried Harvey's, a Canadian fast-food chain where I ordered triple pickle poutine (French fries with chopped pickles, dill sauce, cheese curds, and a fried pickle on top). 

Some quick stats: 
Thesis words written: 4,416 
Plays seen/heard: Joséphine et les grandes personnes, Barbe Rose, Frankee, L'enfant de trèfle, Nos fulgurances
Cafés visited: Café Sfouf,  Osmo x Marusan Café-Terrasse, Crew Collective and Café
Français québécois learned: les bas NOT les chaussettes (socks), la crème glacée NOT la glace (ice-cream), un beigne NOT un beignet (a donut)
Follow me on Instagram @clairederr for more updates!
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Enjoying(?) some Harvey's triple pickle poutine
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Sandos from Osmo X Marusan, a Japanese café located in a historic building near La Maison Théâtre
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Summer Camp Gives Me Hope for Virtual Theater

8/16/2020

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Featuring Radioactive Soup, Fairies, and a Cat Show

PictureFairy drawn by Zé
​For anyone hoping to stretch their theatrical muscles during the pandemic, I suggest the following exercise:
- Improvise a skit
- With actors who aren’t in the same room as you
- In French
- On a Zoom call with 50 kids
- Most of whom don’t speak French
 
These are unusually specific limitations. But, as Chil Kong (Artistic Director of Adventure Theater) said at the DC Theatre Summit in January, narrow parameters produce innovative work. I saw this firsthand as a virtual French counselor at Lac du Bois this summer.    
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Lac du Bois, an immersion program in northern Minnesota, uses performance as a language teaching tool. Theater is present in the skits that introduce the day’s menu, in the gestures used to teach songs, and in the over-arching simulation of the program itself. But the most traditionally theatrical moment of the day is Plaisirs d’amour, a “soap opera” performed by counselors in nightly installments. Anticipated by TV-starved campers and attention-hungry staff alike, Plaisirs d’amour has satirized movies and books, featured unforgettable characters and ridiculous plot lines, and ended since time immemorial with its actors jumping fully clothed into Turtle River Lake. It’s a treasured part of the day at Lac du Bois, and this summer we were faced with adapting it to an online format.
​
Just as Kong predicted, narrow parameters spurred innovation for the team of writers and actors devising these virtual performances, which included my colleagues Vanessa, Zé, Marion, Benoît, Sebastien, Emmy, Eliénore, Issac, Edouard, Aurelie, Cécile, and Sido.

 Inspired by a choose-your-own adventure production I saw at Imagination Stage, I suggested using the poll function on Zoom to make Plaisirs d’amour interactive. One week, I co-wrote a cooking competition with my colleague Marion. After each episode, the campers voted on which of the larger-than-life contestants should advance to the next round. Ultimately, the mad scientist Dr. Ingrédients swept the competition with radioactive soup and the bread-based monster pain-kenstein. He was rewarded during the finale with (self-inflicted) whipped cream to the face.

​​A few weeks later, after watching the parade of horrors that is Cats (2019), I wrote a cat themed Plaisirs d’amour. By this time, we had adopted a hybrid performance method: we acted the first and final episodes live over Zoom on Tuesday and Friday, while the middle two were pre-recorded and played via screen share. This worked particularly well for the cat storyline. On the first day, I took advantage of the blurred home/camp boundaries and had counselors enter their cats into a cat show. I even had my dad call in with my cat, Max, who tragically lost the poll to a dog wearing cat ears. 
View this post on Instagram

At Lac du Bois' Virtual French Language Village this summer, the cooking got a little experimental (at least in this culinary competition). Have you ever tried to animate food?! * * * #livethelanguage #french #frenchimmersion #frenchlanguage #francophone #cuisine #frenchcamp #cookingcompetition #culinaryarts #drama #skit #improv #humor

A post shared by Concordia Language Villages (@conclangvillage) on Aug 20, 2020 at 5:05am PDT

PictureLéa, a returning camper, enters her rabbit Kiwi into the virtual pet show.
​For the second and third episodes, I took advantage of the pre-recorded format to splice together a brilliantly improvised montage of the protagonist, Minou, training to enter the competition (Minou, it should be noted, was played by Zé, the same genius behind Dr. Ingrédients). For the final episode on Friday, campers entered their own pets, who danced to French music in their respective Zoom squares. Shockingly, Minou still topped the poll, with campers pointing out in the chat that he deserved the win due to his rigorous training regimen.

Minou (played by Zé) trains for the cat show.
Minou (Zé) and M. Moustache (Edouard) call a "human" guardian (Matilda and Sido).
​I co-wrote the final week of Plaisirs d’amour with Zé and Marion. Zé suggested that we play with scale and perspective, which we wouldn’t be able to do during an in-person session. This reminded me of the work of my college professor Natsu Onoda Power, who uses live video feeds of puppets in her plays. These ideas snowballed into a storyline involving fairies played by real people and puppets drawn by Zé, resulting in a toy theater extravaganza which eventually incorporated fire, tomato sauce, and a model volcano.  
 
I was so grateful to be making theater this summer, and I was energized by the many opportunities the virtual format provided. After months of mourning live performance, it felt good to make art with smart and creative people.
 
In the next few months, should things go according to plan (which they don’t tend to do these days) I’ll be directing virtual scenes for Joy Zimmerman’s directing class at Studio Acting Conservatory and directing a virtual performance of A Doll’s House for Silver Spring Stage. If you had asked me before this summer, I would have been highly skeptical of these plans. But I’m happy to conclude that, though many things are bad right now, virtual theater isn’t always one of them.
The Adventures of Cafeteria
Written by me, Zé, and Marion, Puppets drawn by Zé
Starring me, Benoît, Emmy, Eliénore, and Marion
Additional puppetry and camerawork by Sébastien
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