Between reality and fiction, which of these two families is the truer? Claude, in his early twenties, is tired of living in secrecy and hypocrisy. He thinks he’s found the ideal remedy for the ills that plague his family: the theater, like a mirror held up to his mother Madeleine, his father Alex and his sister Mariette, so that each of them can take the measure of their own cowardice and lies.
But to what extent is this mirror distorting? Even with good intentions, does Claude have the right to suck his family dry in the name of creation?
Where does the freedom of the artist who dares to draw from the lives of others end?
In Le vrai monde, created at the Rideau Vert in 1987, Michel Tremblay examines his own conscience in imagining this brilliant game of doubles.
For his first production at the Rideau Vert, Henri Chassé directs Charles-Alexandre Dubé as Claude, a pivotal character between his “real” family-Michel Charette, Isabelle Drainville, and Charli Arcouette-and the imaginary family-François Chénier, Madeleine Péloquin, and Catherine-Audrey Lachapelle-that he likes to imagine.