Louise Bombardier, actor, author (b at Sherbrooke 11 Jul 1953). After leaving the CEGEP de Saint-Hyacinthe in 1973, she took part in the theatre revolution of the time, known as jeune theatre.
Louise Bombardier, actor, author (b at Sherbrooke 11 Jul 1953). After leaving the CEGEP de Saint-Hyacinthe in 1973, she took part in the theatre revolution of the time, known as jeune theatre. This was in fact considered a "revolution" in Quebec as many plays had political implications notably at l'Atelier de Sherbrooke, Théâtre du Sang Neuf and Gyroscope. At Théâtre Petit à Petit, she collaborated on the collective creations - Sortie de secours (1984) and Bain public (1986), and thus fed the two passions that continued to haunt her: acting and writing.
Although Claude Poissant directed her in many shows at Théâtre PàP and elsewhere, she worked with a wide spectrum of directors: René Richard Cyr, Martine Beaulne, Denis Marleau, Denise Guilbault, Michèle Magny, and Fernand Rainville. Bombardier performed Québécois works diligently for twenty-five years, by Jovette Marchessault (Le Voyage magnifique d'Emily Carr, Théâtre d'Aujourd'hui, 1990); Reynald Robinson (La Salle des loisirs, Théâtre d'Aujourd'hui, 1997); Jean-François Caron (Aux hommes de bonne volonté, Quat'Sous, 1993; La Nature même du continent, Théâtre d'Aujourd'hui, 2003); Normand Chaurette (La Société des Métis, Théâtre d'Aujourd'hui, 1987; Le Petit Köchel, Théâtre UBU, 2000; Les Reines, Théâtre UBU, 2005) and François Godin (Louisiane Nord, PàP, 2004). Her energetic acting, rapid and precise delivery and inimitable style won her many roles as maladjusted or psychotic characters leading to the violent urbanity in works by Kôbô Abe (Les Amis/Friends, PàP, 1989-90); Judith Thompson (Je suis à toi/I am yours, Théâtre de la Manufacture, 1990; Lion dans les rues/Lion in the Streets (Quat'Sous, 1991); Brad Fraser (Poor Super Man, Quat'Sous, 1995); and George C. Walker (Pour adultes seulement, Quat'Sous, 1999). This world of the commonplace contrasts sharply with that of Normand Chaurette, in which she explores another register, demonstrating to advantage her seriousness, interiority and a completely different energy.
Since Dis-moi doux (1981), she developed a wealth of dramatic material for children that includes some twelve works in which a dreamlike or magical world contributes to overcoming fear and solitude (Conte de Jeanne-Marc, 1992; Conte-gouttes, 2002). Hippopotamie, directed by Brigitte Haentjens in 1990, marked the beginning of a partnership with Théâtre des Confettis, but Bombardaier's works were also performed by other companies for young audiences: Noëlle en juillet (Théâtre le Clou, 1996); Le Champ (Théâtre du Gros Mécano, 1996), a powerful ecological fable about war and death; La Cité des loups (Théâtre de l'il, 2003). Her works for adults flirt with fantasy combined with psychoanalysis and sometimes horror. Through them parade a child monster (L'Enfant, presented at the Festival of short plays, Nouveau Théâtre Expérimental, 1998); a horse-woman (La Femme-cheval at the Atelier étrange, NTE, 1998),a bearskin man (Pension Vaudou, directed by Diane Dubeau, NTE/Momentum/Théâtre de la Nouvelle Lune, 2000) and other mythological beasts (Ma mère chien, Théâtre d'Aujourd'hui, 2005). In addition, she wrote material for radio and television, short stories (Flambant noir, Lanctôt, 2005) and a significant translation: Le Cygne/The Swan by Elizabeth Egloff, directed by Claude Poissant (PàP, Espace GO 1995).
Although the bulk of her career took place on stage, she is also seen in films and on television (Le Bunker, Les Bougon, Grande Ourse).