Maxime Robin, Artistic Director of Théâtre des Confettis (Quebec City, Canada); Programmer for Carrefour International de Théâtre de Québec

A passionate creator working at the intersection of stage and screen, Maxime Robin is an actor, writer, and director whose primary focus remains the world of theatre. Based in Quebec City, he leads Théâtre des Confettis, a young people’s theatre company known for its innovative and engaging work. As a programmer for the prestigious Carrefour International de Théâtre de Québec, he is dedicated to bringing diverse and thought-provoking performances to audiences. At his first European arts market, SIPAM, Maxime shared insights into his work, his perspective on transatlantic differences in the arts scene, and his vision for theatre’s role in society.

How has your experience been so far at SIPAM and in Sibiu?

Maxime Robin: I'm having a blast, it's great. I love it, people are so kind and welcoming and yeah, I'm very happy. I see great shows, which makes me very excited.

Maxime Robin: This is my first market in Europe; it's a very different game than in America. Because it's… I don't know, different opportunities, different ways of getting in touch with people, different approaches. Very, very different. And it's also something you guys have been doing for a long time.

Let’s talk about the Carrefour International de Théâtre de Québec. Could you give us an overview of the festival and explain how you define its artistic direction?

Maxime Robin: The Carrefour International de Théâtre de Québec, Festival Carrefour started in the 90s, it takes place in Quebec City, the oldest French-speaking city in North America. And we are in the province of Quebec, Canada, with a population of roughly 900,000 people. We are a festival taking place over three weeks in the spring, from mid-May to the beginning of June. It's a performing arts festival, so we've got circus, we've got dance, we've got lots of things, we've got magic sometimes even, but our main focus is on theatre.

We're always looking for a strong dramaturgy, a strong line. We're looking for things that will stimulate audience engagement. We want people to be engaged, it can be emotionally, it can be aesthetically, it can be many different types of engagement, but we really want people to be swallowed by the work.

How do you approach selecting international works for the festival? What proportion of your programming comes from outside Canada?

Maxime Robin: The festival has usually five city productions, so five tableaux vivants from Quebec City, called Où tu vas quand tu dors en marchant. It's free for everyone to just wander about, and you see these things happening in the city. It can be outdoor or indoor, but with very wide access.

Then we have five national productions, from Canada and Quebec, mostly Quebec because that's where people speak mainly French. And we have five international productions each year, roughly. We value diversity a lot, so we really want what we offer our audiences to be very diverse, very different. It can be in the tone, in the type of work, it can be in length, it can be in many, many aspects, to be as varied as possible. That’s what we want. We want the productions to be very different from one another.

What does the funding model for the festival look like? How is the festival financially sustained?

Maxime Robin: So, in Quebec, we are financed by different levels of government. We receive funding from Canada, we receive funding from the province of Quebec, and we receive funding from the city. So, that's a public festival. But what's interesting in Quebec is that the authority that gives the money to cultural organizations is separate from the government. There’s no way for a government to give us a line or to influence the artistic work of a cultural organization. So we're very safe in that way, but we also raise money.

From your perspective, what are the cultural differences you notice between European festivals and those in North America, especially in terms of audience engagement and cultural habits?

Maxime Robin: In my view, and I could be wrong, European citizens have a very different relationship with culture. It’s deeply woven into daily life and seen as part of how people understand and experience the world.

In Quebec, it’s a bit more complicated. Theatre is sometimes perceived as elitist or reserved for a cultural elite. At Carrefour, we work hard to counter that perception and demonstrate that theatre is for everyone. A major part of this effort is accessibility, both in terms of ticket pricing, which is “pay what you can” for every show, and in creating experiences that fit different schedules and audiences.

Here in Sibiu, what strikes me is the sheer abundance of cultural offerings in such a compact city. Everything is within walking distance, and there’s a constant stream of artistic experiences, whether visual art, theatre, or even VR installations. It’s incredibly stimulating for an artist.

What do you see as the most pressing challenges facing the performing arts sector in Canada right now?

Maxime Robin: I don’t know what “the most” is, but I can tell you what our concerns are. As I told you, we want to make theatre accessible. Someone said earlier today that we have to pay attention to how artists want to meet their audiences and how audiences want to meet the artists. As programmers and institutions, it’s our responsibility to facilitate that meeting in the best possible way.

Another challenge is embracing the political dimension of art. We need to use art as a tool to improve the world, which inevitably involves taking political stances. That’s not always automatic in North America, it’s something that can be avoided, but I believe we shouldn’t shy away from it.

Language is a significant factor in Quebec’s cultural landscape. How does your festival handle linguistic considerations, and do you currently offer translation for international audiences?

Maxime Robin: Quebec City is predominantly French-speaking. Almost everyone speaks French, though there are small communities who don’t. As a festival, our programming is primarily designed for French-speaking audiences.

The language question in Canada is complex because most of the country operates in English. There are many spaces for English-speaking artists across Canada, but for French speakers, Quebec is the primary hub. While there are francophone communities outside Quebec, they’re much smaller. So, we cater primarily to French audiences.

Currently, we’re not offering translations during performances, but we’re seriously considering adding this in the future to better accommodate our international guests who don’t speak French.

Do you have a sense of how large your international audience is, and does it influence your programming decisions?

Maxime Robin: We don’t have precise figures, but our outdoor production, Où tu vas quand tu dors en marchant, attracts a significant international audience thanks to tourism in Quebec City. Because it’s outdoors and often non-verbal, it’s highly accessible regardless of language.

Another factor is that Quebec has a strong tradition of théâtre de création. This type of work often doesn’t rely on a written script as its foundation, so language can play a very different role depending on the production. That flexibility allows us to connect with diverse audiences.

From your perspective, why should cultural managers and arts professionals consider attending SIPAM in Sibiu?

Maxime Robin: SIPAM offers a fantastic opportunity to meet a wide range of people and discover excellent artistic work. You encounter fascinating productions and have meaningful conversations about the state of the performing arts, both in Europe and globally.

Beyond the professional benefits, there’s also the incredibly warm welcome. Everyone is so kind and generous—it makes for a very special atmosphere. I’d absolutely recommend it to anyone in the field.

Finally, the theme of the festival this year is “thank you.” Who is one person in your life to whom you’d like to say thank you?

Maxime Robin: Within the festival, I’d say Teodor, my wonderful volunteer who’s been taking such good care of me here in Sibiu.

In my life overall… that’s a big question. If I have to choose one person, I’d say my parents, for being so open-minded and always encouraging me to move forward.

Artistically, Robert Lepage has had a huge influence on me as a fellow Quebecer. I remember seeing his play La Face Cachée de la Lune when I was about 15 years old. I left the theatre thinking, This is what I’m going to do. So, I definitely owe him a thank you.