APA 6th Edition Paprašarovski, M. (2019). Lepageova (pri)povijest u scenskom tekstu 887. Književna smotra, 51 (192(2)), 41-51. Preuzeto s https://hrcak.srce.hr/228948
MLA 8th Edition Paprašarovski, Marija. "Lepageova (pri)povijest u scenskom tekstu 887." Književna smotra, vol. 51, br. 192(2), 2019, str. 41-51. https://hrcak.srce.hr/228948. Citirano 16.01.2021.
Chicago 17th Edition Paprašarovski, Marija. "Lepageova (pri)povijest u scenskom tekstu 887." Književna smotra 51, br. 192(2) (2019): 41-51. https://hrcak.srce.hr/228948
Harvard Paprašarovski, M. (2019). 'Lepageova (pri)povijest u scenskom tekstu 887', Književna smotra, 51(192(2)), str. 41-51. Preuzeto s: https://hrcak.srce.hr/228948 (Datum pristupa: 16.01.2021.)
Vancouver Paprašarovski M. Lepageova (pri)povijest u scenskom tekstu 887. Književna smotra [Internet]. 2019 [pristupljeno 16.01.2021.];51(192(2)):41-51. Dostupno na: https://hrcak.srce.hr/228948
IEEE M. Paprašarovski, "Lepageova (pri)povijest u scenskom tekstu 887", Književna smotra, vol.51, br. 192(2), str. 41-51, 2019. [Online]. Dostupno na: https://hrcak.srce.hr/228948. [Citirano: 16.01.2021.]
Sažetak This article examines how the theme of memory is interpreted by one of the most eminent multidisciplinary artists of our time, the French Canadian director, playwright and actor Robert Lepage, whose solo performance 887 (2015) about his childhood in 1960s Quebec City has won a warm reception not only in Canada but in Europe as well. By telling us about a professional problem he experienced when he could not memorise an iconic poem for a public performance, the author introduces the concept of “memory palace technique” that works by means of the use of visual associations. In this way, the artist explores his past life and creates a dazzling theatrical illusion which is as instable as his fragmented recollections. Thus, he draws attention to our faulty memories in order to make and remake our intimate and social histories. Specifically, the paper discusses the interplay between Lepage’s personal reminiscences (namely, of his family life at 887 Murray Avenue) and collective memory, especially regarding the Quiet Revolution and the Separatist Movement in French Canada. In fact, this is how the central motif of transformation – from personal to historical to narrative – is used in this magic show which looks like a confessional monologue and a history lesson blended together to provoke reflection on the nature of family, identity and culture. The article concludes by focusing on the figure of the father that is not only important for the interpretation of this play but also for deepening our understanding of Québécois society and theatre.