Ouvre ton jeu avec Marie-Claude Barrette - #96 Louise Latraverse | Ouvre ton jeu avec Marie-Claude Barrette

Episode Date: March 10, 2025

Louise Latraverse est une femme libre qui a eu son lot de défis à relever. Au cours de cet épisode, Louise nous partage cette leçon de vie « dire qui on est au risque de tout perdre ». Une vie qui n’a rien à voir avec un long fleuve tranquille. Même aujourd’hui, elle a conservé cette capacité de se renouveler. On a à apprendre de cette femme!━━━━━━━━━━━00:00:00 - Introduction00:13:31 - Cartes vertes00:39:01 - Cartes jaunes00:54:38 - Cartes rouges01:12:58 - Cartes Eros01:23:01 - Carte Opto-Réseau━━━━━━━━━━━L'épisode est également disponible sur Patreon, Spotify, Apple Podcasts et les plateformes d'écoute en ligne.Vous aimez Ouvre ton jeu? C'est à votre tour d'ouvrir votre jeu avec la version jeu de société. Disponible dès maintenant partout au Québec et au https://www.randolph.ca/produit/ouvre-ton-jeu-fr/?srsltid=AfmBOoo3YkPk-AkJ9iG2D822-C9cYxyRoVXZ8ddfCQG0rwu2_GneuqTT Visitez mon site web : https://www.marie-claude.com et découvrez l'univers enrichissant du MarieClub, pour en apprendre sur l'humain dans tous ses états et visionner les épisodes d'Ouvre ton jeu, une semaine d’avance. ━━━━━━━━━━━ Ouvre ton jeu est présenté par Karine Joncas, la référence en matière de soins pour la peau, disponible dans près de 1000 pharmacies au Québec. Visitez le https://www.karinejoncas.ca et obtenez 15% de rabais avec le code ouvretonjeu15.Grâce à Éros et compagnie et notre niveau rose, obtenez 15% avec le code rose15 au https://www.erosetcompagnie.com/?code=rose15Merci également à Opto-Réseau, nouveau partenaire d'Ouvre ton jeu. Visitez le https://www.opto-reseau.com pour prendre rendez-vous dans l'une de leurs 85 cliniques.

Hello everyone, welcome to the podcast, Ouvre Ton Jeu. Thank you for being here. Thank you to the guests too, because they live an experience by coming here, they are ready to play. The guests don't know at all what questions they will have to answer. And each time the guests leave the studio, I feel like I've lived something, I've learned a lot from them. And I know it's the same for you. I'm going to read you one of the comments we got from Nikita, who says,

When I saw that it was Alexandre, my son-in-law from Grenoble, I was so excited to listen to him. I wasn't disappointed. I love everything about him, his humor, his presence, his authenticity. I listen to all his podcasts and this one has taken away a guilt I had for a long time, the one that I didn't have enough presence for my father when he was at the end of his life. I have always wondered why. Why didn't I understand the gravity of his cancer? It gives me a feeling of thinking

that it was simply the period of my life that I was going through, because I was 19. Thank you, sincerely. Indeed, we had this discussion because sometimes when you have the guilt of not doing something, you always have to go back to the context in which we were at that moment, because often we judge ourselves in the present moment, but there was a context, the age we had, what we were at that moment, because often we judge ourselves in the present moment, but there was a context, the age we were at, what we were living, what was important to us, and Alexandre has just expressed it for his grandmother, and I recognized myself a little in her story,

because it seemed to me that there was a period in my life where I wasn't so present for my family, and it comes back with age. Not the values, but the priorities become different. And then, in the old days, I got very close to my family and Largie. I also heard a little bit about that from Alexandre, and that's what Nikita is sharing with us. So, thank you Nikita, because it's still an important piece of life, what you're telling us. So thank you very much for sharing with us a very important part of your life. Thank you very much for sharing this with us. I want to thank our partners, the Marie-Claude Club, it's a space of better being. And we offer you 10% discount on this platform, which I am the owner of.

If you subscribe, you go to to mariclaude.com. If you are an annual subscriber, add the promo code CLUB10. You will get 10% discount on the annual subscription. Karine Jonquo, who is our main partner in the game, will give you 15% discount if you go to her website. The promo code is OVRETONJEUX15. Eros is a company. If you go online, you'll get 15% off.

The promo code is ROSE15. But there are also 29 stores all over Quebec. It's a simple and fast access to products and services. No matter where you are. So, I remind you, for Eros, it accompanies the case of Rose 15. For Opto-Réseau, buying two pairs of complete glasses, prescription glasses and mounts, get a discount up to 50% for the second pair. So I think it's a promotion that's interesting.

So the guest... Oh yes, I also wanted to tell you that we are on Patreon, if it's a platform that you know, because we put the episodes of Open Your Game in advance and we have different levels. You can go take a tour because there are a lot, a lot. In fact, the whole podcast is on Patreon and You can go because it's often a platform where you have to pay. It's a paid platform, but it offers greater proximity with those who carry podcasts. Today, it's a woman who has gone through several eras. I'm particularly looking forward to meeting this woman because the more people get older,

the more they have a great future in life. This woman has been through a difficult time. I hope that the game will allow us to talk about this period. She met Bob Dillon. It already intrigues me a lot. I'm going to give her the place, I'm going to let her in. And that guest is Louise La Traverse. So, place to Louise.

Lange, because it's an abstract thing. You have to stop talking about it. But you're not looking for love, for example. You're not looking for love. No, I'm not looking for love. Love comes or doesn't come. And if love came, would you... Oh, if love came, of course.

You can't say no. I've always said no, no, no. Jeannette Bertrand said, yes, as long as it happens to you. Ha ha ha! But of course you can't say no. You can't say no to love. Open Your Game is presented by Karine Jonquas, the skin care reference, available in nearly a thousand pharmacies in Quebec, and by the Marie-Claude Club, which is a space dedicated

to the best-being, where more than a hundred masters are located, led by experts, available on Marie-Cicload.com. Table games, Open your original game and the Couples edition, are available everywhere in Quebec and on Randolph.ca. Today, I was really excited to come to the studio, because when I was preparing the game here, I was already excited to hear the answers. I don't know what she's going to understand, I don't know what we're going to fall into, but there have been so many things in her life, so many different eras.

And she's someone who has the art of telling what she's lived through with her way of doing things. She's someone you know, so welcome Louise La Traverse. Hello, what a pleasure, thank you. I was really surprised, Louise, to learn so much by preparing this game on you. Because you've lived a lot of things in an intense way. Are you an intense person in life? Yes, of course. I've calmed down with the years and 20 years of analysis.

It calms a person, it does you good. But yes, I am intense. Now I am. But yes, I am intense. Yes, yes. I love life passionately. I get into something, I get into it. Even if now I live, you know, calm. Calm at home, I live alone. Calm. I like that a lot.

It's a long time to learn to live alone. It's not something that's so natural. You live in families, groups, work, etc. And suddenly you find yourself alone because the life is there. That's it, you don't decide everything. And I liked the idea of depriving myself of this solitude. Because I had read a lot, you know, we talk all the time, know yourself, and then, well, all the great philosophers, all the great...

So I said to myself, yes, that's what interests me. Know yourself. So I undertook a long that's what interests me. You know yourself. So I undertook a long analysis, which I continue. Because it's a privilege. I tell you, Alain has done this all his life. I said to myself, well, if Woody wants to do it, I'll do it. To go and talk, especially when you live alone,

to go and talk to someone every week, someone who listens to you and doesn't judge you. That's it. That's where we open up. Because judgment is already a brake in the discussion. Yes, you listen. Then you continue to tell little stories. I always had the impression at the beginning to enter a well.

I said to myself, but how am I going to get out? How am I going to get out of the well? I had the images. I said to myself, I'm going to crawl into a well. I said to myself, how am I going to get out? How am I going to get out of the well? I had pictures. I said to myself, I'm going to crawl. Then I'm going to take a walk. Then I'm going to crawl. I'm going to take another walk. To get out of it. I had all this visualized in my head. The idea that you're falling into a hole.

How do you do it? Yes. So that's what psychoanalysis is. You crawl, you tell stories, you crawl. That's it. It changed that. So psychoanalysis is that, huh? You scratch, you tell, you scratch. That's it, that's changed, that's what it does in my life. And then, if there is something interesting to live, it is the human contacts, what we learn for me, what I learn from others, and then what I learn especially from myself.

And psychoanalysis, had you done psychotherapy before? Yes. Well, it's not really a psychoanalysis. My psychiatrist tells me, we don't need to say those words. I talk to someone every week who doesn't judge me. That's all. Because I have the impression that psychoanalysis goes further. It's a long process. It's a long process, but mine is a long process. That's all. What's the difference between calling it psychoanalysis or analysis?

They're taking away all that now. They're trying to... And what have you learned from yourself over these years? Well, you're not going to ask me that, burning your fist like that. What I learned about myself, are you crazy? We write books for that. But no, what is good in us, what touches us,

what concerns us too, because learning to smell our own business, learning to listen. These are things that we don't know instinctively all the time. We embark, we talk, we explain that it was really about feeling. It's the emotion that is interesting. It's the emotion. I'm interested in emotion. I'm an actress, so I live emotions. I play emotions.

And I'm more interested in emotions than in the brain, for example, or in the rational. It's certain. It's more my nature, more like that. I think an actress is on the side of that. But to say it like that, it means a lot, I think. When you say it, when you separate it from the way you just said it, emotions, the rational, there is something, it's true that there are people without being an actor or actress who will be really attracted to emotions too. Yes, of course. In general, people are...

There are still a lot of people who are reasonable, who will... who will take the... the cerebral, the analysis, etc. Well, being an artist, I think that artists, it touch us a lot. We are touched by emotions, that's what we express. When I write, I'm sure that emotions are always on the line. So, I find it so fascinating, the human being. We don't have enough life to go around and understand who we are. Pessoa, I was telling him, that's what he was saying.

These men, he spent his life thinking about it. At home, he was always alone, he wrote. At one point, because he didn't go out, we told him he was a postmaster in his little village, and then he went just to meet people. The rest of the time he was at his place and he was thinking. The rest of the time he was at his place and he was thinking. The rest of the time he was at his place and he was thinking. The rest of the time he was at his place and he was thinking.

The rest of the time he was at his place and he was thinking. The rest of the time he was at his place and he was thinking. The rest of the time he was at his place and he was thinking. The rest of the time he was at his place and he was thinking. The rest of the time he was at his place and he was thinking. The rest of the time he was at his place and he was thinking. The rest of the time he was at his place and he was thinking. The rest of the time he was at his place and he was thinking. The rest of the time he was at his place and he was thinking. The rest of the time he was at his place and he was thinking. The rest of the time he was at his place and he was thinking. It's a work of honesty. You can't cheat when you come home. You can't pretend to be someone else for a while.

It catches you. It catches you. You're going to hit a wall, someone is going to put you back in your place. But we do it, these are defenses. Defense mechanisms. Defense mechanisms. Are you ready to open your game, Louise? Oh, yes. I will explain how it works. There are green questions, which are general questions.

You won't have to answer all these questions. You'll see, you'll choose. The yellow questions are questions that are starting to be more personal, I would say. And that, you mean the green ones are general? Yes, exactly. These are personal questions, the red questions. The questions about eros and companionship are questions of sensual or sexual questions. Oh, that's for sure. We're not going to go into that. You'll see. At worst, you won't answer. You'll see what you can do. The question Optoraiso is always the question that makes the podcast end in softness.

What's your name with that one? Optoraiso. Optoraiso. And the joker, Louis, is the titanic of my sub-questions. You tell me joker and we move on to another question. Very good. Okay. So you can touch them on the table and give me five of them, please.

Of these five, I'll read them to you. You'll be able to choose one and I'll choose one. Wait a minute. Well, let's go. You give me five. Thank you. So here's the first one. You're going to tell me which one to choose.

What do you most often be blamed for? What place does friendship take in your daily life? What is your definition of freedom? How has your relationship with money fluctuated over time? Or how many people have made a difference in your life? My God, are you serious? I have to answer? You chose one. Just one. Just one? One in that.

You should show them to me. Yes, certainly. I'll see. What do people reproach you most often? What place does friendship take in everyday life? What is your definition of freedom? How is your relationship with money fluctuating with time? And which person, or which person, as you want, in the singular or plural, made a difference in your life? What comes to you? Well, wait a little bit.

What place does friendship take in everyday life? Well, I could answer that, for example. I don't have many friends, but the friends I have are precious. I have a friend, for example, who lived in front of my house. It's the occasion that makes the larron. So, as he lived in front of my house, there was a little girl who raised him alone, and I was alone at home, so we would meet. I helped him a little, if you will, to raise his daughter. We ate together. She was absolutely wonderful. He was a wonderful father. She loved music.

He took her to the conservatory. She learned the cello. She studied. He would go every day to play the ball with his daughter, he would take her to ski. I never saw a father like him involved. He was so beautiful. And then he came and I would tell him all kinds of things about life, you see, what I was learning, of what I knew. And I learned to develop his taste. He didn't know the taste. So, you know, to develop, to learn to find a style, you know, in life. It's important, anyway, there was a position in an important company. So, you know, to play at that all the time, every day,

to exchange that, to show that I can cook. He's now doing better at cooking than I am. Everything I liked, of my passions, I communicated to him, since it interested him, of course. It interested me, it was necessarily interested in the things I did. And we had an extraordinary relationship for 20 years. We still have, but now there is a blonde. So what we discussed together, now he discusses it much more with his blonde than with me.

So I found it difficult to lose him, to leave him. He is still my friend, but he no longer has the presence he had in my life. So these are the griefs we're going through. Life is full of, hop, people are leaving, people don't belong to us. So we have to let him go, but how do you do it? So I had a difficult year for a long time, and you don't replace someone, because you have to replace him. J'ai eu pendant un grand moment une année difficile, puis tu remplaces pas quelqu'un, parce qu'il faut que tu le remplaces pas. Faut que tu le remplaces.

La vie te met devant des gens que tu vas rencontrer, mais tu choisis pas un numéro. Lui, ah tiens, ça serait le prochain numéro. Ça marche pas comme ça, la vie. Ce sont des choses spontaniques qui arrivent. Alors voilà. These are spontaneous things that happen. So, there you go. Did you have a lot of griefs, of friendship? I had a few. I had griefs from family. I lost my husband very young.

My son was four years old. It was terrible. I lost the griefs, especially the grief mourning of my father, my mother, the mourning of the family. The family is breaking apart. I didn't have many friends who died. No. I had some, but I have a blockage. I can't remember who died. Oh yes, yes, yes, yes, I had a great friend, a great, great, great friend who was, who taught me, who helped me live, it was Simone Chartrain, who lived in my house. I had made a room because she lived in Richelieu, Simone, and she worked every day in Montreal,

in Radio-Canada, she had a, in Radio-Canada. She had a radio-canada program. She went to conferences everywhere in the province. She spoke to women. She was such an extraordinary woman. She showed women how to organize themselves. She would show women how to make Chinese bread. Simply because it was a complete meal.

So if you prepared it in the morning, you didn't have to do this, that, that, that. It was the meal, there were vegetables, but there was wheat, there was potatoes, there was meat, so there was what was needed. And then she had this great intelligence. She was a woman who helped women a lot. When she died in the church, it was so incredible. Women from everywhere came to see Simone. She walked through the province. Her husband, Michel Chartrand, who helped him with the workers, and then he...

But in his life, Michel was a very sweet, very kind man. He was an extremely educated man, who was a feminist, who read the collettes and compagnies, who were interested in literature, in poetry, except that, well, his side was a bit of a He walked around everywhere. So she was very lonely. She raised seven children all alone. I imagine you were a daughter of a judge, a great bourgeois family, and you met with Michel Chartrand, who was a cultivated man.

You mustn't forget him. When you arrived at Chartrand's, you listened to Mozart, and you listened... No, no, it was... This woman also, she really impressed me because she was the first woman in Quebec to talk about financial independence to other women. Yes, that was the first thing she told me. You have to be financially independent. She helped me so much. I had this instinct that I didn't want to ask anyone for money.

She liked that about me because I was an artist. She had a lot of admiration for us artists, because she knew that we were in such a difficult life. We never knew from one month to the next if we were going to win our lives. It's still unimaginable in people's lives when you tell them, I don't know if I'm going to pay my rent in a month, if I'm going my rent or not, whether I will eat or not. And finally, you spend a life living in this insecurity. So you necessarily build yourself, you are obliged to be a creator or to be creative,

because otherwise you will die. You have to adapt too. And you have to adapt, but you have to create. You have to be creative, because otherwise you're going to die. You have to adapt too. You have to adapt, but you have to create. You have to create your jobs. You can't just wait for the phone. It doesn't work just waiting for the phone. Did you make a lot of calls to people you called? Not that much. I hated calling and asking. What to order? It's something scary. I had a lot of difficulty doing that.

We have a certain pride, you know, to be told no, I don't think so. But I mean, we did it. But very, very young, I... With Paul Buceno, we bought the theater for four cents. I was 24 years old, I bought a theater. It was creating a job by buying. Of course. All that was important. I said, «Paul, you have to buy the theater. It's a synagogue.» We were walking down the street. I said, «Paul, watch out, it's going to be a beautiful theater.»

He said, «Loulou, let's see. It's a synagogue.» I said, «So what? We're going to go see it.» It was on sale. So we went to see it. It was the Quattus, which is now the Quattus. But you know, it was already a theater, because in the synagogues there is a jubilee. The men are at the top, the men are at the top, and the women are at the bottom. So you had the stage. Yes, we had the stage, we had the room,

and we had the jubilee. So you know, it was quite incredible. So it wasn't that difficult to do that again. And I was in charge of everything, because Paul, it was Tommy man with a great imagination, who was extremely talented. He had talent for everything. He knew how to cook. One day, I was making myself a dress.

I went to make myself a meal, and I wasn't able to do it. He said, wait, wait, give it to me. He put a sewing machine on it and finished my dress. He was a child of the ball. You know what a child of the ball is? It's a child who was raised in the streets of Paris. There's nothing in a family, they were raised in the streets. So he had his little form,

I'll tell you this story, people say it a thousand times, but he made socks and shoes, and at one point he sang, because the day is long when you have a little child in the street. And he was funny, you know, he had a lot of character. So one day, someone noticed him.

And we said, but that boy is very talented. And then they brought him into a group where there were people who sang. And then these people became the companions of the song. It's not common. And then, Piaf fell in love with him. Because in addition, he he did caricatures. He did everything. He knew how to do everything. He did the kitchen. There's nothing that Pollo didn't know how to do. It was a surprise box. That's what he did for years. But it was himself an amazing surprise box, so many talents.

Was she also exuberant in life when she seemed to be seen in public? Yes, of course. But she cried in her private life, but she was calmer. She didn't cry all the time. But as soon as there was an audience, she would take her voice from the tent and speak loudly. She would arrive in a grocery store, he would always make his number and speak loudly. He would take his place, but he was funny too. But it was annoying some people, necessarily. But when you live in the street, you have to know how to take your place.

Well, yes, let's see. It's not a life that's not normal. No, no. So there were all these great qualities. But... So you created your job with him? Well, I created another job for him too, because if he needed a place, it was him, the theater, it wasn't me.

It was him who was in charge, it was him, the soul. Well, I arrived and I was able to help organize the shows he was putting on. There were great shows going shows at Place des Arts, a little everywhere. So yes, it was magic. You know, he did in the parks of Montreal, the roulette. But it was magic, the roulette, the characters, the roulette. He went to all the parks, he did theater.

So there is, as an initiator, if you want, a whole generation of theater, from La Roulotte, who was going to walk in all the neighborhoods of Montreal. Accessibility. Yes, yes. To play all these characters. Do you remember when you thought you were going to be an actress? Did it quickly germinate in your family? When I was young, at school, we always made me read texts.

We said I read well. We were asked to read stories for the children at the Christmas story in Radio-Canada. So we were asked to do things. And then, well, in the holidays, you know, I always did numbers, and then I got interested, I knew all the songs, and then I liked everything that was this job, actually. And then, very young, a friend of mine, my parents, asked me, she said, well, he wanted to open a radio station. The first radio station in Chicoutimi.

And she said to me, you know, you tell a lot of stories in the holidays, you write poems, and I liked that. When we were children, at my grandfather's, to have a gift, you had to make a number. So it started when he was young. He had 11 or 12 children. Henri Gagnon.

And he said, well, I have 63 children. He never said that his wife had 63 children. It was him who had 63 children. He was a very, very colorful character. A business man, but absolutely wonderful. There were big parties on the day of the year. Can you imagine that in the living room at Grand Papa's, there were 63 little cousins, cousins plus the family,

the 10, 13 children. There was people there. It was an incredible audience. There was a little poor... It was your first audience? Yes, it was my first audience. The first time I went to my show, it was La Cigale et Enchanté tout l'été. It was very unexpected when the kiss came. I had done this little bit of... So, you understand, I had been applauded, and then everyone...

So the year after, I had learned several, because my cousins, my cousins, they didn't want to go, they were afraid. So I took their place. So during the second year and the third year, I often went up on the little bouff, because I took the place of everyone, I made my number and I liked that. So it starts like that. I met Bibi Andersson, this great Swedish actress, one day at Woodstock, a good part of my life. And she had asked me how I had become an actress. I told her, well, she said, listen, it was the same thing for me

in Stockholm, you know, in Sweden. It was the same thing. The next day, I was doing that too, like you. I was learning, and then I learned a little more more because we had to make numbers to have our gifts. It's like that. But it's extraordinary. Well, yes, it's simple. It's often simple. It's not big, in any case, big intellectual decisions.

It's a feeling. Yes, it was done simply. It was like a little normal. And when he asked done simply. It was a bit normal. When they asked me to do the radio, I went and I had a key. One week, I opened the post by myself and I did everything. I was taking care of the news on the TV, the commercials, I chose the 10, but in any case, I did everything. I can't tell you everything because I'm, I did everything. Can't you tell me everything? Because I'm telling it on stage. I can't tell you everything I do on stage.

No, no, no, it's okay, it's okay. We'll go to another question. Because there... But at the same time, when we listen to you, we want to see more of you on stage. What is your definition of freedom? I don't know how I would say it. Freedom is inside. It's something that we carry within us. Yes, freedom is being able to express oneself,

and being able to let others express themselves, living in a place where we have the right to express ourselves. For me, freedom is that. Because we see it in many countries, we see the right to speak. How many points in years where women had not the right to speak, even now, women who are stolen, who are hidden,

who are behind their windows, who have no right to go out, freedom is to go out and talk to anyone you want. For me, that's freedom, to breathe the air without being stopped, judged, to be. Have you always been a free woman? Yes, I think so. I probably got involved in things where it was a bit of a bother. But yes, my freedom was very important. When it was no longer there, I left.

I had the courage to leave. Not everyone has the courage to leave. Because it's difficult to leave a relationship, to leave a job, to leave if I felt too suffocated, I left. You chose at that time. At the risk of losing everything. To say who we are. I put that on my fridge. I don't know if you remember that sentence. To say who we are at I put that on my fridge. I don't know if you remember that sentence.

To say who you are at risk of losing everything. Yes. That's freedom. I think so, yes. That's what I hear in that sentence. Yes. Because who you are, you have to know, but when you respect yourself, you're free. But there are countries where saying say you're going to die, at the risk of losing everything.

It means you risk dying too. Yes, yes, it's losing your life. Yes. Unfortunately, there are still many of these countries. Of course. There are many. The women, you know, don't need to go far. Look at Turkey, look at Iran, and wait.

It's hard, isn't it? Yes. Yes, it's hard to look at reality. Sometimes we forget it while we're here. Yes, but there are still women here who fought for their rights. And we did well to fight for our rights. I'm part of the generation of women who fought for their rights, it was... It was not possible that we didn't have the right to wear their... For example, my mother...

I was born in 1940. It was the year when women had the right to... Wait a minute, it was... The vote. The vote, the right to vote. So it's very similar to your life. The right to vote, that's very important. So after that, it's all the rights that we're going to acquire. It's so important to talk about it because I have the impression that we don't talk about it enough in the history classes.

That it's not... it's not happening alone. You know, women still have things to go after, but everything we went after, we must preserve it preciously, because it was difficult to have as many rights in Quebec, among other things. Yes, but you say to have as many rights as it was completely normal. There's no reason we don't have the same rights as men. But we had to fight to get them. And that's why sometimes, when I'm younger, I try to tell them,

for a moment, don't take for granted, these are women who went to get these, women with men, or if there are also men in... But just the right to contraception, it was already revolutionary. Yes, but the pill, when it happened. I'm part of the generation that had the pill. Can you imagine? The sexual freedom we lived there,

when it happened, all that freedom there, and we had the pill. Wow, we were free. But that's what brought, I imagine, that movement there. Of course, all that happened with... You's what brought this movement, I imagine. Of course, all of this happened with... You experienced the EPI movement. Absolutely. Tell me about it.

EPI, I wasn't an EPI. I've never been an EPI. My husband, Emmett Blogun, was the big American movement. But I didn't experience it in the communes. I didn't experience anything like that. And I hated all of that. It was absolutely not for me. You could have chosen it, because it was your time. Yes, I could have. But it didn't interest you.

It didn't interest me to live with others. It wasn't all that. My quest was to realize myself, to realize my talents, to know them, to build things. The liberation of women was wonderful because we helped women to free themselves from the constraints of the chains that prevented them from existing, from doing what they had to do. That was very, very important for me. We did the Girls with Clémence. There had never been a show like that, where we came to talk about what we lived,

and how it had been a huge success. Because we came to tell stories, we broke the chains, maybe big chains, but in any case the wires that were holding us back from taking the place that was coming back to us. Did you realize at that time that it was an exciting period? Yes, but it was a world-famous exciting period. The cultural revolution is a revolution that happens once a century. These are not revolutions that happen often.

It happened at that time and it was worldwide. It was in May 68, it was in Hatchbury, it was the whole world that was freeing itself. All this youth was talking about everything. It was a worldwide movement. So it was part of these movements, from San Francisco, where children gathered in parks, wanting to leave the family chains, wanting to express themselves,

living a sexuality that seemed to be their right, and breaking the frames. But this revolution has been, and it's especially the plans, because the artists have started to express themselves, the painters that we didn't look at, you know, an abstract painter, it was like something, my God, what is he doing there?

You know, all this openness of mind, literature, it's huge how life has changed. So, I lost track. You said you were part of this exciting period. Yes, I was part of that period, the Stitch Show. I was the conductor of the Quattro, and we were around the table, then Robert arrived from San Francisco, and he was making music. Me, it was my friends, Robert Charlebois and Louis Forestier, and we were always together.

I had a house, and he came to sing us his songs, and we thought it was good. And then, well, Mokatsu, we thought maybe Robert could do a show and all that. And then Paul Buccineau, well yes, but how? When are you going to do your show style? It's Paul Buccineau, yes, but how? When are you going to do your show style? Paul Buccineau found the title of the show. Your show style, when are you going to do it? And then Robert said, oh, that's a good title. And that's how it was called, the show style.

And then we repeated there, and then Robert did his numbers. Yvon was there, but Yvon had never done his monologues. Before the evening of the premiere, we had never done these monologues before the night of the first one. We had never heard these monologues. Yvon was always a little discreet, he didn't talk much. And he came to us on stage, we were there to listen to him. We had never heard his monologue. Can you imagine how shocked it was? Yes. So that was very, very important.

It was actually a lot Robert, Yvon, Louise, Mouffe and I. We were doing the voices. We weren't as important in this show as we were doing. It was first Louise, Robert and Yvon. But you participated, it's incredible. We were the Backstreet Boys. and they go. Yes. But you participated, it's incredible. The Backstreet Boys. But to be there at the moment, you know...

To be there and to have them engaged, and I was in the basement, and listen, I was opening the door. But that's a remarkable moment of a life. Yes. Because we're still talking about it, the Stitcho. Yes. It's still up to date. It's still up to date and it's still as good as when Robert came and did his show.

It's still wonderful. Robert is still up to date. They're going too. They're going to shoot and they won't stop and they'll start again and they'll come back. I said, my God, it's really great. Are you ready to move on to the yellow level? If you want, I don't know what the yellow level is. You'll see. You give me 4 of those levels. I've got this condition where I don't feel pain. You're a superhero!

This is how intense Nova Kane sounds. Imagine how it looks. Yeah, big time. Nova Kane, performing in theaters March 14th. When the frustration grows and the doubts start to creep in, we all need someone who has our back to tell us we'll be okay, to remind us of our ability to believe. Because their belief in us transfers to self-belief and reminds us of all that we're capable of. We all need someone to make us believe.

Hashtag, you got this. Listen, I'm pushing you. So here it is, but it's still an empty one, not worse. What is the most significant leg you have received from your father? What is your definition of old age? Oh my, just big existential questions. Who are the men of your life? Not your business. I love that answer. What period of your life was the most effervescent period of your life?

The first one is, what is the most significant leg that you received from your father? I think my father gave me confidence in my talent. My father believed in my talent and he wanted me to study. My father had great ambitions for me. He wanted to send me to go to Montreal. He wanted me to go to McGill. He said, because we lived in Arvida, it was a bilingual city, it was the Aluminium Company, the Alcan, and he said, if you want to travel, see the world, you have to learn English. Because it was a French fief, the Saguenay,

there was no one who spoke English in the Saguenay. My mother, she said, she was a French fief, the Saguenay. There was no one who spoke English in the Saguenay. My mother, she said, if you come to our house, wait a minute, if you come to our house, you speak our language. You know, I mean, it was not a question that people who came to our house spoke the language.

It was you who spoke my language. So there was this pride already, you know. question qu'à part de la langue des gens qui venaient chez nous. C'était à vous autres à parler ma langue. Alors, donc, il y avait cette fierté-là déjà, là, tu sais, donc là, je perds le fil. Mais c'est le lec de ton père, tu disais, il croyait en ton talent, puis lui disait d'apprendre l'anglais à quelque part. Oui, et j'étais la première fille au Saguenay, donc, à aller dans une école anglaise, parce que tout ce qu'il y avait comme possibilité dans les années 50, pour moi, c'était d'être soit secrétaire ou infirmière. Because everything that was possible in the 1950s for me was to be either secretary or nurse. That was what was available. None of them interested me.

I didn't want to do that kind of career. So what to do? So my father said, listen, if you ever want to study, study abroad, you have to learn English. If you want to see the world, because I want to see the world. So he told me, go to the English school. A scandal in my family, my mother never. Let's see, speak English. My grandfather, patriarch, with all his children, French was the most beautiful language in the world.

We didn't speak English at that time, when St. John's was coming. Nobody spoke English. Except for Alcan, because there were engineers who came from all over the world, because it was this big aluminum factory where engineers were needed. So we lived in the neighborhood where these people lived. So I learned English with the people in the neighborhood to speak English. And I liked languages. I was good at languages. So I played with English and I started.

And then he decided, it would be good if I went to the sisters of the good council. décidée, ben, ça serait bien que j'étais aux Sœurs du Bon Conseil. Eh, j'étais-tu contente de me laisser les Sœurs du Bon Conseil, puis de m'en aller au St. Patrick's High School, avec des hommes qui étaient des professeurs formidables, avec, c'était mixte, il y avait des garçons et des filles à l'école. Tu t'imagines comment c'était une incroyable libération de sortir de l'église catholique, how it was an incredible liberation to leave the Catholic Church and the sisters of the Good Council. I hated that. There were no words how I hated being among the sisters of the Good Council. That rigidity didn't match at all with my temperament. I had two good professors, but otherwise I didn't like that. I didn't like the religious

couvants, their robes, their robes. Everything exasperated me. I didn't like any of that. And what place was it? The Anglophone school? Arvida. Ah, it was Arvida too? Yes.

Because you stayed at home, but you changed schools. Yes. And then I made friends, the Abertz. Well, the Abertz, they're great producers, the biggest producers of cinema in the world at the moment. They're the sons of the greats of the world. They're the sons of the greats of the world. They're the sons of the greats of the world. They're the sons of the greats of the world. They're the sons of the greats of the world.erts are the biggest producers of cinema in the world.

They are the Haberts sons with whom I was raised. You see? In my neighborhood, his parents were directors of the Alca. You see? It comes from the small towns. And was your father right? Did it open up to you? Yes, my father was right. Of course he was right. It opened up the world to me because when I arrived in Montreal,

speaking English opened up everything to me. Speaking languages, you know. Here it's French and English. We didn't speak Spanish, but knowing English, it quickly... Very young, I went to the United States, I was in the East, you know, in the 20s, I went to Woodstock, I went everywhere. I spoke English, it was amazing. But I listened to you in other interviews and I also said that...

Because we talk a lot about Bob Dylan presently, I've been a fan for a long time, but with the film, This Perfect Unknown, he becomes a mythical character. But you know, you've known him in your life, Bob Dylan. Yes, Bob Dylan was unbearable. It's an incredible being. When you knew him, that one? Well, he was like that. I think he was a paranoid person, actually, if I think about it now. He was very uncomfortable with people. He was very closed. I think he was a paranoid person, if I recall correctly. He was very uncomfortable with people, he was very closed.

I really liked his wife, I was friends with her, Sarah. But Bob, I didn't have access to that kind of wall around him. I think he was the one who imposed it on him. That's why he became mythical somewhere. He's not someone who manifested himself a lot. He's someone who is secret somewhere. Oh yes, yes. You weren't approaching Bob Dylan. I mean, it was impossible.

So it creates this character, and it's always intriguing, these beings who are so different. So, and then he arrived with this singing style, we had never heard anyone sing like that. And then his poetry, it was so beautiful, what he was telling. They shot a film with his wife at our house in the St. Louis square.

But no, I've never was, I saw him often, often, but I had no connection with him. It was too, no, the paranoiacs make me extremely uncomfortable. And is it your husband who was, your husband who died? Yes, who was a friend, he was a friend, they told me to put, friends. They said, « We want to get to know Emmett, so that he can live with Bob Dylan, in his house. » So, yes, they were very close friends. Yes, of course. You have several lives, it seems, because this is an American life. Yes, this is my American life with Emmett, who was a very famous character in the United States, who had given his name to all this youth, who had left the families,

and who had gone to Golden Gate Park, where finally Emmett had given his name to all these children so that no one would be arrested. It was absolutely incredible. In his book, Ingalibio, he tells all this. He also is a mythical character from that generation. I met everyone when we were at Albert Grossman, who was the manager of Bob Dylan and Janis Joplin, who was the great friend of Emmett, but not my friend at all. I couldn't stand her. I hated her enough, Janice Joplin. She was so unpleasant. So we didn't get along at all.

So the others left, they were living their lives, but Janice and I, it was fire and water. Was the French actress still here? I would have put my hand in her face 22 times, but she sang 10, obviously. Still here. You mentioned earlier that Emmett died when he was young. Yes. And you became a young widow with a young child. Yes, my son was four years old. I think I was 34 when Emmett died.

I don't remember. It seems like I have a blockage. 36, I don't know. I don't particularly want to talk about it this morning. I'll talk about it when I do my show. But I don't want to tell everything. But I understand that it was a memorable moment in your life. But it was a memorable moment, of course. Where you have to get up. And then I found myself, what do I do with my life?

I was living in New York. We lived in Brooklyn because Louis was an Irishman from Brooklyn. The Irish lived in Brooklyn. I loved living in Brooklyn, in the Irish Quarter. Oh, I loved the Irish. Do they look like Irish? By the way, we have Irish people. When I was young, in Saguenay, there were Irish people. And then in Montreal, when I lived in the Mylands,

I lived in a house built by the Irish. It was the Irish Quarter at the time. On the River Lee, all those houses in Bric, it was all Irish houses. So I always really really liked the Irish. Emmett was beautiful as an Irish. You know, when Irish people are beautiful, they are terribly beautiful. Terribly beautiful.

Was it a blow of the foot with him? Yes, yes, yes, a blow of the foot. When he arrived, the door opened, and I saw him, I was like, oh my God. Oh my God. I'm not telling you everything I say in my show, but I describe it well. I have to keep an eye on it. I don't have everything I say in my show, but I describe it well. I have to keep it a little.

I don't have to tell you everything. But yes, beautiful, beautiful, beautiful. Beautiful like an Irishman, that's what you said. And you had a boy with you. Yes, I have a beautiful boy who is beautiful like his father. How old is your boy now? 49, 50 years old. Is it the most beautiful role in your life, being a mother?

Well, I think that when it happens to you to have a child, it's always the most beautiful. It's the greatest love of my life, for sure. Our children, it's how we describe it. We love men, but our children, I lived for my son all my life. It was the engine of everything I did. It was for him, for me, but for him too, of course. The question I chose, what is your definition of old age? Oh, it should be, I believe, the most beautiful moment of life, since it's the last moment of life, so it has to be the most beautiful.

I'm going to end my life in beauty, I'm not going to end my life, my God, it's terrible, I'm going to end my life, I'm going to say, what's the deal? We know since we're in the world that we're going to die. What's the deal? My God, we're going to die, well, yes, but... We know we're going to die, that's the first thing we say. We're born and we die. That's life first thing we say. Absolutely. We are born and we die. That's life. That's it.

That's the end. Someone once told me that life is a deadly disease. Well, yes, of course. That's exactly it. That's exactly it. So I want to, I work on what my life is. I'm in the last part of my life, but who will... Because we will live longer and longer, it's clear, because things change, because we have drugs,

because we know everything that allows us to live long. But yes, I want... I do this part of my life, the most beautiful part of my life. It is very solitary, it is not at all a matter of celebration, and then I go, and then I travel around the world, I did that. It's this life of calm, I didn't have any business to celebrate, and then I go and travel the world. I did that. It's this life of calm.

This life that I really, really wanted to be able to live simply, calmly, with myself. It was good. Yes, yes. Do you feel like we're beating people who are older? Probably, but I'm not part of that because I'm going to beat the people who beat me. I don't let myself be beaten in life. Do you understand? I'd like to be told,

no, I like the old people. I've always liked the old people because they lived, because they are interesting, because they are beautiful. I've always had the old people because they lived, because they are interesting, because they are beautiful. I've always had older friends than me. I love the old people. I adore the old people. It's beautiful. Old is a beautiful word. We can't say that anymore. It's old, old age. But yes, but youth, you know, so what? It's beautiful. Yes, it's beautiful, that's for sure.

It's beautiful, it's sure. It's magnificent. And at the same time, all the distance. When we get older, we have so much more distance on life, on... I think it's moments where we have to hear others talking to us, to learn. There's like an acceleration, I find, when others confide in each other. And I, every time I make older people, I still feel like they have less emotions when they tell their life. Because it's placed. There is something that is placed in the puzzle of life. There are pieces, I think, sometimes we don't know where to put them, because we don't see the portrait.

Yes, but it's that everyone everyone stops to look at their life. Not everyone does that. People are in action, but they don't stop, and they don't realize in particular everything that's going on. You have to say that there are the heads of the Innuids in the world, you know. And not only the heads of the Innuids, but they are taken by their obligations, which they are forced to keep. They don't always have the choice. their obligations, that they are forced to keep,

that they don't always have the choice. That's what happens, we are masters of our lives. If you don't decide what you want, you will be brought into the world and you will follow. That's all. But we have the choice to decide what we want to do. Of course, when you have seven children, you don't have much choice but to work to feed them. But there are women who, with seven children, Simone Chartrand, who had seven children, took care of these children, but took care of their intellectual life, their work,

they went to conferences, they came back, took care of all that. There have always been women who have written a beautiful book called My Life as a River. That is to say that it is always a movement. Life is a perpetual movement. And that moves forward. Yes, it moves forward. Red level. Red level.

You give me three. Three. We chose only You give me three. We only chose one of those levels. I give you three and you take one of them. No, it's just you in that. Have you already reached your physical or psychological limits? Make the wind sing with the wind, with, sorry, with time, go, everything goes away. What became the time for you?

At what point in your life did you have to stand up? We chose one. Oh, you ask great questions. Which one do you want me to take? As you want. Well, have you already reached what? Your physical or psychological limits. Well, of course. More than once.

I am unlimited like everyone. Sometimes I think I I have it, and then I hit a wall. I hit walls in my life, because I was pushing too much, because I didn't know, I didn't know how to predict, I'm not someone who analyzes, who is reasonable, who does people. So I hit the wall. But when you hit it, you get up and you get up again. You take a step the other time, you do it a little better and you learn. But have you already reached the physical and psychological limits? Of course. I'm still in analysis, it gives you an idea. Is there hope when you reach those limits?

But living is... yes, otherwise you stop living. Hope is living. So from the moment you reach your limits, or you hit a wall, it's a depression, it's a gift in life, it's not something horrible, it's a very nice gift. Because it stops you. You can't do it anymore, you did everything you wanted to do, there was no good blood. It's enough.

But to stop and fall to the ground, and to say, I'm not capable anymore, it's difficult to accept. And it's in this reconstruction that makes us the interesting beings that we can become, or not. Choices, right? I always wanted to try to understand who I was,

and I always have this desire to improve myself. I don't think I'm good, I don't think I have the business. I don't have the business at all. Do you think you don't have the business? Well, no, I don't have the business. I try things, sometimes it goes down, sometimes it works. That's good. And then after that, it can change. Maybe I'll... You know, there are things I haven't seen, that I'll find on the way.

I'm always open to the new, to the surprise, to be surprised, to be, of course. When I look at you from the outside, I have the impression that you are a contemporary since forever. It's difficult for me to say, I am a contemporary. In the sense that for me, you have always been part of the artistic landscape, and you are still part of it. Yes, very. But you knew as...

You know, because sometimes when there are some who will grow old, young, they will become old, young. Yes, yes. And there are people who will grow old, but who will always remain young, by their curiosity. Yes, but I think that's it. You know, youth is not? It's curious about life. Life is fascinating. It's fascinating, even when I'm alone in the house, when I look outside, it's fascinating.

Because it's beautiful, because I look, I can contemplate, I can stop, I have time. Just having time, for example, at some point in his life, it's such a gift. I'm not bored. You know, when I have time, I go, Wow! Have you ever been bored in your life?

Probably, yes. I had some flat moments. I didn't work, I was worried. I had love troubles. There are flat moments in life. It's not always the same. There are challenges, life, it's not always like, oh my, oh my, you know, there are challenges, there are difficult moments, there are boring moments, even when you're in trouble, is it

boredom? I don't know. Sometimes it's suffering. It's suffering, yes. And why did you decide to go back on stage? Because all my life I wanted to do a One Woman Show, but I hadn't done it. Well, I tell myself, it's now or never. And you tell your life.

Yes, absolutely. That's my instrument, that's my... I tell myself. That's why I have to stop talking to you. What am I doing here? No, it's not... I don't think anyone will say, I won't have it. I think there are people who will say, because I heard her, I still want to know more about her and to see you in person.

Yes, it's nice to see them. I really like to see people on stage. I still like that, of course. I like to see people. Yes, so you don't have to be afraid. The presence is... It's not the same thing. The cynical presence is not...

To be in real time with the person. I went to see Diane Dufresne, I think it was last year, she was doing a show where she told a lot. Yes, I saw her. I liked that exercise of a thousand years... Especially that Diane didn't tell a lot in her songs, yes, but not her. There was a period of question. It was very... I think there were several dimensions. It was a show that came out of the ordinary,

out of its form. But for me, who listened to Diane Dufresne when I was very young, to be in the same space as her in real time, there is something that we can't... You know, we want to live. Yes, and that's the phenomenon of the scene. And Diane has always been very... She innovated, she was always looking for something new.

There's someone who didn't repeat herself, it was her. She worked hard, trying to bring something she hadn't done before. She was very creative, Diane. Yes, and she continues? Always. She continues on that path? All the time, she paints and does all kinds of things. She is always, always very creative. When you are on stage, Louise, what does that bring you? How do you feel on stage?

To tell you how good I am on stage. There must be so many artists who must say, it can't be done. I am on stage as good as on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I'm on stage, I was scared, I was scared. I arrived on stage and I am at home with the world, my friends who are there. They paid to come see me, they didn't pay me, otherwise they would have stayed at home. So I have friends who are there, you understand, that's what you have to think about. I'm happy to see them, they are also happy to see me. I said, so you paid? You are certainly happy to see me, otherwise you could go out, you know.

I wouldn't be angry, but why would they go out? That's what they wanted. So, you know, there's an immediate connection that's made there. I'm happy to come see them, but they're happy to come see me. So we have an exchange, and I like the idea that we exchange. So I tell them, they respond to me by their laughter or their reactions. I hear them. I like to hear the audience. I hear them laugh, I hear them breathe.

You hear all that on stage, right? Is it a superpower to do the scene? I never thought it was a power, but it's a privilege, I would say. Yes. It's a great privilege. Yes, it's a privilege to be able to speak a power. No, I wouldn't say that word. A superpower in the sense that if you're heard, you're like...

There are several things when you control the stage that you can do, that you can say... Yes, but I'm not going into those areas. I'm not interested in power. No, that's can do, that you can say... Yes, but I don't go into those areas. I'm not interested in power. No, that's not what I'm looking for in life. I'm looking for exchange. Yes. I don't like the idea of power, and someone who is subjective.

If you have power, it's because there are people... Yes, are you analyzing it like that, actually? No, no, I hate that. But when you're on stage, do you feel like you can say anything? Do you censor yourself? Well, you can say anything. I don't know. You can say anything, but... I don't know if I can say anything. There are things I wouldn't say. Saying anything means saying horrible things.

But in the sense that you, what you want to say, you let yourself say it at that moment. Yes, absolutely. Yes, because you know there are a lot of people who will still be concerned about what others think. Yes, no. I say what I have to say, what I want to say, and the more you do that, the more people receive you. Because that's what people want too, they don't come to see me for... It's authenticity. Well yes, if they want authenticity, of course. Did the importance of looking at others change over time?

The importance you gave or gave yourself? Well, if you take... The more you're sure of yourself or what you do... But you know, there are times when you do something and then you start. It's so scary. You're afraid of making a mistake. You're afraid of being so vulnerable. It's after a while, after a while, that you do your show, that you have an exchange and you're good with people.

But the beginning is always very difficult. You can't tell a story. It's very scary to get on stage for the first time, and they say, oh, it's a show. You want to die. You're so scared. Suddenly I annoy them, suddenly it's not good. You don't know anything.

And you say, now you see people leaving, you know. And there are people who leave. There's a woman there, the other time, in front of me, the first row, she got up and she left. I said, are you okay? She said yes, yes. Then she left. And I said, well, but... She said yes, yes. She left. I said, well... She didn't come back?

She came back. Okay, she came back. Maybe she was in the bathroom or I don't know. She had a malaise. But she could have had a malaise and left. But you can take it personally, while... Yes, but I don't take anything personal. There was one who was sleeping, but he was sleeping. I said to his wife, wake up, tell tell him that he can go, I won't be angry.

He stayed, he grabbed his nails and came back. Finally, I laughed at him, and we laughed at him all night. What do you want? He was such a beautiful character that I was in the first row in front of him. I said, in any case, this one, who's interesting, your husband.» I said, «How long have you been married to him?» And then I went there. «And who's interesting? Is he always interesting like that?» And we talked again. And then I used him, finally.

And in the end, he was completely awake, and he was delighted, and he got up and applauded. So you see, it was simply... I couldn't yell at someone who was asleep, because someone who was asleep is someone who is extremely tired. You think it's someone who doesn't love you, but that's the question and the negative answer. But if you don't think of yourself, but you think of that man who man who worked during the night, he was a night worker, he was ill, his wife forced him, she had bought him tickets,

he had to go, and then it started. So we don't know what people are going through at that time. So you can't yell at someone who's asleep. And when they're really too tired, I tell them to go to sleep in the hall, there are beautiful big windows, go to sleep, and we'll be happy. And you, it's family. Family, talk to your family.

It will make us happy, come at the end if you want, we'll say goodbye. And there was one who came back, everyone was up to applaud him, listen, we laughed so much. That was my favorite spectator. How old are you on stage? My age. I'm 84 years old. And I'm 84 years old.

You have to stop thinking that 80... Times have changed. I just had the impression that on stage there's no age anymore. There's no age anymore. You're old. I'm in good shape. I'm in good health. I'm in good shape. But the times have changed. 80 is not old at all.

Because I was well-treated, I had vitamins all my life, I ate well, I danced, I did the dance, I did the exercises, I did... I'm not a fan of exercise, disease, but you know, I walked a lot. Sometimes I walk in my house because I don't want to break my knees outside, because I had my knee surgery. But age is a question of health, age. This health was good. Well, it's good. I like it when we talk about age, because there are still... You know, I'm 56 years old, and I have friends who are really preparing themselves for retirement. Oh, I'm changing friends, my poor child.

But what you're saying is not quite wrong in some way, in the sense that I have like we're going elsewhere now. Even people who retire continue to work differently. It's the end of something, but they go to something else often because life lasts a long time. It's a long time to be retired, 40 years. Yes, but it's because life is a movement, we continue. It's all grandmothers' stories, their of these people. Can I applaud you? Well, if there's a person who's interesting and who's 20 years old, I'll spend as much time with her as a person my age who's interesting.

But a person my age who's flat, I'll tell you, she had to be flat at 30, then she had to be flat at 20. You know, you can't tell a story. When you're flat, it's been a long time since you've been flat. I don't waste my time with flat people. So I'm interested in people who are uninteresting. I'm not interested in the age of people, but I don't care about that, like in 40.

It's so uninteresting. I have friends of all ages. Well, that's extraordinary. Well, it's normal. Well, it's... Yes, it's normal for you, I think. Well, let's see. Well, I'm not sure it's normal. Yes, it's normal for you, I think. Well, let's see. I'm not sure it's... Because you have to meet people first.

There are people who are unfortunately isolated for all kinds of reasons, so it's hard to renew or to have... But what you say, I think, is to remember that. Well, you see, I do a very nice job, which is a job of theater, of actors. So, in theater, we play with actors of 5 years, with actors of 12 years, with actors of 20 years, and with actors of 80. And when we start a play, we are in our homes, and we all have the same track, and we are all the same. And age no longer exists. So we know that, the actors, because we repeat,

and then you say, there's a child coming, you're going to be interested in him, not the other, you're going to be interested in a person, and it's always exchanges of people. The theater opens us, opens us the mind and the heart. That's what theater is about. It's beautiful. Because it's human beings who live together on stage,

but we also live together on stage. What you're saying is so what I'm trying to apply, naturally, not to make a bond between ages. Because it's humans who make bonds because we all have to support each other. Because what you say, you know, like here at the podcast, there are people of all ages. And it attracts people too of all ages. The clientele is... we have people who are 20 years old, who are 50 years old, the clientele is very... Because you have to stop putting closures of ages. People are interesting, period.

If you're 20 years old, there's years old, you're lucky to be 40. That's it, period. You have to have interesting people everywhere. You just have to stop and talk to them. I talk to people on the street. People talk to me all the time. I have conversations with people. I'm not like,

Oh my God, they just talked to me. Well, yes, but they're nice. They just talked to me. I don't even send them for a walk. Sometimes I don't have time. I say to them, excuse me, I don't have time today. come to talk to me. I don't even send them for a walk. Sometimes I don't have the time. I say to them, excuse me, I don't have the time today. But I talk to the world. I like talking to the world.

How many years have people known you? It's been a long time since I started. I was so young. You know, 18 years ago, I was a little shy. I walked on the street, everyone knew me. It started there. After that, I arrived in Montreal not long after, in 1999.

Is that a source of pride for your parents? Yes, yes, they liked it. My mother liked it. Seeing me on TV, she was proud. My mother liked seeing me on TV, she was proud. But, you know, then my brother came to the show business. We've always been in the show business. Guy Latraverse. Yes, Guy Latraverse, qui était le grand producteur. Alors on a toujours été dans des familles d'artistes, on était toujours entre nous. C'est comme une grande, c'est une grande

famille, notre communauté en fait. Alors on se connaît tous, plus ou moins. Puis là, j'en connais moins des plus jeunes, mais je suis toujours ravie d'y rencontrer. Parce que je connais leur, c'est des gens disponibles, les acteurs, c'est des gens qui aiment communiquer. I'm glad to meet them because I know they're available. They're actors, they're people who like to communicate. I really like actors. They're curious, generous people. And it's something that really touches me about actors. And to be a part of it. Yes, I'm happy.

Yes, it's beautiful. But I like everything. I like writers, I like artists, I like people who express themselves, who dare to say that they have given us other colors of life, they talk about their feelings. Yes, it's beautiful. Well, I'm going to ask you questions. If you don't want to answer them, we won't answer them. No, you're going to see me talk about sex. You're going to see.

It's making me... Yuck. Sex, yuck. It's not necessary. I'm not sure you've always said that, for example. I'm not sure, I'm not laughing. I'm not sure. Is the one you seduced people than you seduced? What is your relationship with nudity?

Did you see women emancipate over time on a sexual level? Yes. And did you experience the hippie period on a sexual level? Well, listen, what you want, go ahead. We're not asking you that question. Because that's all, after all? No. Well, but is there anything you want? Go ahead, ask the question. Is it worse than that, in the end? No. No?

I don't know. But is there anything you want to answer? I don't know. I don't even remember what you told me. I forget quickly. I forget quickly. Ask me the questions. Okay, wait. We were talking about women earlier, so I think it might be interesting to go over that. Have you seen women emancipate over time?

Yes, honey. I'm from that time. Sexual liberation is my time. But at the same time, when we talk about sexual liberation, Louise, did you see men's eyes change compared to women's? Because there was a time when women weren't emancipated, they were more in anticipation of the other's gaze. Yes, but you have to know that I was not a woman in a neighborhood with a house, a garden, and that I raised children. I was an artist all my life.

I was on the go, we were young, we did things young, so I don't have a relationship. There was an opening of mind. When I was young, I had this opening of mind. I had it in my family. In my family, there were people who were open-minded, who had a great sense of celebration, who had... I didn't feel like I was drunk, but when I was young, you know, my mother, when... It's a beautiful story because in Saguenay-Linx-Saint-Jean, you know, you live... You're all Quebecers and you speak French, except for Arbida, that's it. So one day, I went out with engineers, that's what Arbida had, engineers.

So I went out with an engineer who was Jamaican, who was absolutely magnificent. My uncle Trevor, Trevor Foreman, who was called. What a magnificent, kind man. And one day he came home, he hit me to come and see me. My mother opened the door,

and when she saw him, she started crying. And she saw him, she started crying. She was crying, she couldn't stop. He was all right, but I... She had never seen a black man in her life. She kept saying, You are so beautiful! You are so beautiful!

She couldn't put on the beauty of Trevor, who was magnificent. But what she discovered for herself, she had never seen a stranger or someone else. Was it extraordinary? So that's a great opening of mind that my mother had. Oh my God! You are so beautiful! I hear it again. ma mère avait à la porte. Oh mon dieu! Mais vous êtes donc bien beau! Je l'entends encore, là, tu sais. J'la pleurais, mon dieu, vous êtes beau. C'est tout chanceux, hein? Je comprends. Toi t'as assisté à ça, et lui aussi. Alors c'était très, très, très

émouvant. Alors ça, ça te montre l'ouverture d'esprit, de cœur qu'il y avait chez nous. And that shows the openness of the heart that we had. There was no one who was different. We were at the difference, of course. Did you prefer to be seduced or seduced? I don't know. I never measured these things. I was seductive and I let myself be seduced. I had both. I was seductive, and I let myself be seduced. I had both. Yes, yes, yes. I liked seduction, of course. I feel it.

Yes, I really liked seduction. It's a beautiful game. The game of seduction is wonderful. The first time we look at each other, we say, «Ah, yes, I love that!» Do you still play seductive? If I play, probably. Or do you play because you're an actress, but in the sense that you're still seductive? Because I imagine that it's part of us. I think so. Even the age, because it's an abstract thing, you can't stop talking about it.

But you're not looking for love, for example. No. You're not looking for love anymore. No, I'm not looking for love, me. Love comes or not? And if love came, would you... Oh, if love came, of course. You can't say no.

I've always said no, no, no. Jeannette Bertrand told me, yes, as long as it happens to you. But of course you, no, no. Jeannette Bertrand said yes, as long as it happens. But of course you can't say no. You can't say no to love. There are things that I could say no to. For example, I don't want to live with someone in the same house now. I couldn't share my space. That's very, very precious. Because first I work at home, I draw, I write, so I need my space.

But you can't say no. Love falls on my head, I do whatever, as I've always been in life, it's sure, I wouldn't put... I don't know. But in principle, if it makes sense, I don't think I would say no. I don't think so. I hope. I hope I will always remain open to love. Because there is no age. That's why I remember I had met people who were in an old house. I don't know, they were 93 or 91 years old, and they fell in love. But it was so beautiful. It was exactly like when you're 20 years old.

It was the same, they fell in love. He called her his princess. It was beautiful, that's all. It was love. Because sometimes there are people who will close the door for a moment of life. Well, not for other people. Well, yes. Closing the door is closing the door to life. I'm not telling you that I would leave like a madwoman,

live in New York tomorrow morning. No, there are great chances that I would do that. And we'll see. Maybe. Maybe Jeannette is right. Maybe Jeannette is right. But Jeannette is right about that. She's an example. She met a man... I was there. I met her at Place des Arts. Can you imagine? I think I fell in love. She was in a state of mind. place des arts. Tu peux pas t'imaginer. Je pense que je suis tombée en amour. Elle était dans un état.

C'était incroyable, pour petite jeunesse qui était cute, elle était cute, un enfant de deux ans. Moi je me rappelle Louise, quand tu es revenue de l'Inde. Il y a eu quelque chose qui a changé chez toi. Les voyages forment la jeunesse. Mais l'Inde a quelque chose d'emblématique, de mythique. Je India has something emblematic, mythical. I don't know, when we talk about India, it seems like we are open to transformation. Well, I don't know. It opens up, necessarily. You are in the greatest civilizations in the world, the old civilizations. So, you arrive in such aation, such a great culture.

I felt like a tractor in India, with my dollars in my pockets. You see, religion is a way of life, it's a culture. You understand, it's great. Indians are so sophisticated. I can't even tell you how we have little ones next to Indians, when you come from this people so cultivated. I was very, very touched by their way of eating. You know, in India, you eat on Monday for the heart, on Tuesday for the liver, on Wednesday for

your lungs. Everything is sophisticated like that in India. Do you think you don't find it thick? And you who happens to eat Chinese, Chinese party, and hot chicken. It's almost limited to that, and you come to this immense culture, with their mythical characters surrounding them. It's for sure that, unless you're not very intelligent, you lean towards the great Indian culture.

I remember I had done an interview when I came back from India. I won't name it because I don't want to... My God! What did you find in these people? You were talking about these people as if they were poor. There are poor people in Calcutta. Yes, because it's a big, big city, and there's no work, but these people are not, are not poor, I mean, because of their culture. It's great cultures.

We don't have them. In 1878, I was, I don't know, in the 80s, I was a little girl, we were just starting. I don't have any luggage, I don't have anything. But now you arrive in these countries, let me tell you that I listened, I had my eyes all over my head, and I was amazed. You were abandoned by that.

Completely, completely, completely. I wanted to receive everything from what they had to give. It's because it's magnificent. To arrive in China, it's certainly... I didn't go to China, but it's the same thing. It's great civilizations. It can't be indifferent to knowledge. The last question, Louise, the question in the network. What look would little Louise have on the whole of your life?

Little Louise, she would look at me, oh, your white hair is beautiful, you have angel hair. It's so beautiful with your white hair. I think she would say that to him. Ah, you have white hair. You know, children stop at details. Yes, but I think hair is a lot. I remember when I was young, my aunt's white hair. She said, oh, you have beautiful hair.

The children tell me that sometimes, oh, you have beautiful hair! The children tell me that sometimes. Oh, you have beautiful hair! The look, other than that, children are simple. It's not noon at 2 p.m. if they like it or not. I would like that that child to love me. If I love him, because I would love him right away, of course I would like him.

But you know, there are children with whom you can't connect. You can't love everyone. Yes, there are saints, but I'm not a saint. There are people with whom it works, there are people with whom I have no connection. I don't insist. That's all. It's not a judgment. I just see that, ah, it doesn't work, I don't judge people because I'm not available to do what they want or I don't understand

or I don't understand, I just get rid of them. I don't judge people because I'm not available to do what they want or I don't understand or I don't understand, I just get rid of them. I don't do anything about it. No, I like people. I like people. I like it to be nice, but I don't get a lot of that. No, I like people. I like people. I like it to be pleasant, but I don't get along with everyone.

Of course not. People who leave me completely indifferent, people who exasperate me, and there are people who I want to push far away so I don't see them, you know, for sure. And there are others with whom you have more attraction. Yes, and there are many, many more. Yes, I like that.

Even if I am a great solitaire, you see, it's curious, this dichotomy. I'm a soloist, but I like the world. I have the impression that the solo side will sometimes influe the drums too. Of course. Which allow us to go to people. Yes. To give. You see, if I hadn't been single, I wouldn't have written a solo show, and I wouldn't have gone to see people. You see, it sums up exactly what I did, what you just said.

I was alone, and then what do I do? Well, I'm going to write. If I write, I'd like to go on stage because I'm bored, but I'm going to do it, I'm going to go. All these bricks have been put together, and it's going to see the world. Yes, of course. It's so nice to go see the world.

Yes, it's so pleasant. You go to the world, and in the end you don't see them that much. Because you do your job, they welcome you all the time, but then when the curtain is closed, you go alone to your house, and they go to their house. You don't see them. Did you do bookshelves? I did bookshelves, yes.

Because I think that writing and doing bookshelves, meeting people, I think it's a very particular universe. Yes, it's so pleasant. I love it so much. It's natural for me to meet people and talk to them. Yes, the book store is very, very good. Sometimes, also sometimes for a show. But for a show, you know, we're on tour, we're in a hurry, a driver wants to go, we have to move things forward. You're not very available, you understand?

You don't have time to train for an hour. They always leave us a bottle of wine, but you don't take it. I don't drink, you know. We're leaving. So, but in Montreal, it's a little bit more possible, you know, because you're at home, and then there are restaurants around, and then that's nice. We do the most beautiful job in the world, and it's true that it's a beautiful job. It's a beautiful job, the chance, you know, to live with emotions,

to share them, to make people happy. I hope that I make people happy, but surely they wouldn't come. Exactly. You've been part of this big community for a long time. You're a member, we don't ask ourselves questions. We know Louise. Yes, and since I spent so much time alone, I'm so happy to come and see if you knew how much I liked it. And how long are you going to be on tour with this show? Well, I don't know, as long as there are requests. As long as there are dates, you'll be there.

Well, yes, as long as there are dates, we'll stop because it's going to be summer, and then it's festival time, as I always say, it's funny, my friends. But festivals last until summer, so we don't do shows in the summer. But after that, we start again at the end of September. And then we start again until it's been a while since I've been driving. And then, as long as there's demand, I'm going to go, absolutely. And maybe I'll write another one, we'll see. And then you draw? I draw and I write. That's what I do in my clothes. I don't cook anymore. I finish the wash, the dishes, then I cut, then no.

I have a hairdresser who brings me my food, all done, and who is wonderful. And I sit and I eat. I don't cook anymore, I'm not interested in it at all. I loved cooking so much. I loved all the cuisines in cooking anymore. I loved cooking so much. I loved all the cuisines in the world. I'm passionate about all of this. I have no interest in peeling potatoes, picking potatoes and crushing potatoes. I have so much more to do in life than take care of potatoes. You've been doing it for a long time.

I've been doing it for a long time. I've been doing it for a long time. I loved it. And yes, as Jeannette said, what was she saying at 60? She had hung up her workbench. I hung up my workbench. I don't do any cleaning. I don't do these things anymore.

I have a lady who comes to do my cleaning. And then the food. I have a very nice man, Thierry, who is a dealer, and Thierry Pastaud, who is called, who is wonderful, and then he comes to bring my food. And then that's it, and when I don't have any, I eat the toasts. That's all. We can have a pinot. I'm very happy. Is there a sentence, Louis, like the last question, I want to ask you, maybe there isn't one, but a sentence that is part of your life that you repeat, that helped you, that... Yes, it's the sentence that I think I told you earlier. To say that you are at risk of losing everything. That's very important.

Not telling stories. Tell stories that really have something to do with it. Not lying. To look fine. To look ugly. To look smart. To look cool. You are what interests me.

You, what do you think? Tell me for real. That is what is important for me. That we are sincere, honest, and listening to the other. It's the other who interests me. It's not what she would like to be, you know, what she is. Do you understand? And I can only give what I am today. I'm not pregnant yet, but it will come. There is time, in 40 years, there will be more time, but it will come in 40 years.

I will live my time, because we will live old. More and more old, it's true, we know it. So, no, it's great. I'm in love with life. Thank you, Louise La Traverse. Thank you very much, it was a pleasure. A real pleasure. You said, two hours, my God, how am I going to do it?

You see, it went by like a charm. Thank you very much for being here. Thank you. Thank you to everyone for being here, and we'll see you in the next podcast. Bye bye everyone. This episode was presented by Karine Jonquin, the reference in the matter of skin care in Quebec, and by the Marie-Claude Club,ude, a space dedicated to the best-being.

The table games Open Your Game, original edition and couple edition are available everywhere in stores and on Randolph.ca.