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Philippe Cyr grew up in Gaspésie. He caught the theatre bug at age seven, while attending an amateur show in which his uncle was performing. An understated director who puts himself at the service of the play he is working on, he talks about the delicate collaborative creative process behind Corps titan (titre de survie), the poignant story of actress Audrey Talbot who, in the wake of a serious bicycle accident, relates her rebirth.
“I love it when our eyes, our ears, when our work, our gaze land in completely unexpected areas.”
—Philippe Cyr
This interview adheres to the health and safety guidelines of the region in which it was recorded.
Philippe Cyr holds a bachelor's and master's degree from the École supérieure de théâtre de l'UQAM. He began his career at Théâtre Prospero, where he directed his first plays. In 2012, he founded the theater company L'Homme allumette, with which he created an adaptation of the poetic text Les cendres bleues by Jean-Paul Daoust, Selfie by Sarah Berthiaume and Le brasier by David Paquet at the Centre du Théâtre d'Aujourd'hui. With Gilles Poulin-Denis, he created Ce qu'on attend de moi, a co-production of L'Homme allumette and 2PAR4 presented in Montreal (Théâtre Aux Écuries and Usine C), Ottawa (at La Nouvelle Scène Gilles Desjardins, by the NAC French Theatre and the Théâtre du Trillium) and Vancouver (Théâtre La Seizième). He also works with other companies for which he directed Le iShow (Les petites cellules chaudes), Unité modèle by Guillaume Corbeil (La Seizième) and Prouesses et épouvantables digestions du redouté Pantagruel, a text by Gabriel Plante based on Rabelais' work (Théâtre Denise-Pelletier).
For the documentary theater company Porte Parole, directed by Annabel Soutar, he directed Christine Beaulieu's acclaimed saga J'aime Hydro (presented at the NAC in November 2019). Philippe Cyr is also an associate artist at Usine C.
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