Mr. Speaker, I have the honour of rising to speak to Bill C-11 for the second time. I gave a speech about it about one year ago.
We have been talking about this for a long time. My hon. colleague from Trois-Rivières is not here today, but I often have conversations with him. He always gives very brilliant speeches, choosing his words carefully and speaking with intention. He told me about a word that aptly describes what is being done with Bill C‑11: “lantiponner”. I do not know how the interpreters are going to translate it, but it means to fool around, to hedge, to delay, to procrastinate, to quibble needlessly when the issue at hand is urgent.
I think that this word is fitting because we have been back and forth on this issue for two or three years. People have been waiting 30 years for a bill that addresses the challenges of our time in order to support our artists.
One year ago, I gave a speech in which I spoke at length about culture and also about the fact that this bill is important because it helps minority cultures, the world's small cultures, stand up to the platforms that threaten to steamroll over them. That is very important when we fight for a small culture. With respect to language, Pierre Bourgault once said that when we fight for the French language in Quebec, we fight for all the minority languages in the world.
This is the type of challenge we are facing when working on Bill C‑11. I talked about culture in that speech, but today I feel like taking a more personal approach and talking about my artist friends. Thirty years ago, before becoming a member of Parliament, I attended the National Theatre School. Artists are my friends. I love them. In fact, I do not just love them; I adore them. They are my brothers, and they have very difficult living conditions. The situation of artists is very precarious. We need to do everything we can to support them because artists are the heart of who we are. They add spice to our lives. I do not know whether my Conservative colleagues have ever tried to do the test. At one time, there was a campaign to raise awareness of the importance of culture in our lives. The test was to try to see if you could get through an entire day without listening to the radio or music or watching TV or a movie.
Let us try to see what life would be like without music, movies and television series, without all of these things that reflect our stories, our ways of living, our traditions, our values, our interests, the things that basically show who we are. Let us try that just for a day so that we can understand the value of artists and what they bring into our lives, this very special way of seeing things. These artists need our help. They need our support.
I will now talk about an artist who is famous in Quebec, Sylvie Drapeau. She is a friend of mine. She may be the greatest stage actor of all time in Quebec, and perhaps even in Canada. She is absolutely sensational, extraordinary. When you see Sylvie Drapeau on stage, you remember her. She did a solo performance at Théâtre du Nouveau Monde, or TNM, a few years ago, and it was a rather personal and remarkable tour de force. There was a time Sylvie Drapeau was in five plays in Montreal a year. She performed at all the major theatres and played all the major roles. She would perform Shakespeare at TNM in the evening and rehearse Chekhov at the Théâtre du Rideau Vert during the day. She would then perform Chekhov in the evening and, the next day, rehearse Marivaux or Molière at TNM—and she always had the lead role. In the middle of all that, she would fit in a play by Racine and do a bit of television, if she had the time. Playing a lead role on stage for two or three hours and rehearsing another play every day takes a lot of energy.
We are talking about a remarkable actress. We are talking the Wayne Gretzky of theatre. We could also say Maurice Richard, as one of my colleagues mentioned.
We have heard our Conservative friends talk about culture as if it started and ended with Tom Cruise, the red carpet and the Oscars, but that is not the case. There is a whole world out there. I know some of the people in it, they are my friends. They are creating art. They are producing remarkable works that need to be seen and appreciated. With Bill C-11, we can fight for the artistic ecosystem. All of these actors, creators and writers are part of artistic life in Quebec, across Canada and around the world.
Even when she was playing the five roles I mentioned, as well as all the starring roles in the repertoire, Sylvie Drapeau was earning $35,000 a year. It is important to point that out, because there are a lot of people like that, whether we know their names or not.
The Conservatives have a rather narrow vision of the arts. I would just like to remind them that, in Quebec, 80% of the members of the Union des artistes earn less than $20,000 a year. Only 1% of those members make more than $100,000. When someone tells me that an artist’s life is all cocktails and glamourous premieres, I say no, that is not true.
I know a thing or two about it myself. When I graduated from the National Theatre School of Canada in 1987, I wanted to change the world through theatre, and I know plenty of people who had the same goal. They dreamt of changing the world through films and plays. I am talking about actors, but there are also dancers, singers, and other artists who want to put on productions that move people, that speak, that touch the heart and soul. At the very least, we need to help these people pay the rent.
When I left the National Theatre School of Canada, I wanted to change the world. I started a theatre company called Béton Blues. I worked for two years with two or three colleagues to start a company and apply for grants to keep it afloat. I had never done that in my life. After filling out grant applications, we needed to get to work to try to get money from major private donors.
That was something. I remember the first time I called Hydro‑Québec. We had prepared a highly researched document to tell its representatives that they should give us money because we were young creators of the future and what we were doing was very important and that our plays would really move people. It had to be sent to the person in charge of arts and donations at major corporations. Then, we had to call to ask them if they were going to give us the money. I was not prepared. I did not know what to say to these people. I remember calling a gentleman at Hydro‑Québec. I was on the phone with the person in charge who could give us $2,000 for our performances. I just asked whether he had any money or something like that. We had no idea how to do it but we did it.
Essentially, what I am saying is that this was important work to me. I worked for two years. Ultimately, we put on a show. We adapted As You Like It, a play by Shakespeare, in the Old Port of Montreal's hangar number 9, now home to an IMAX theatre.
It was a kind of like a big warehouse spread out over 300 feet. It was an absolutely stunning sight. We had nothing. Four sets were used in the show. People arrived and the show began with 20 minutes in one spot. Then, the back of the stage would open up to reveal 300 feet of space and three more sets. The audience would move around, following us.
I will talk about this show in another speech because I think it was remarkable. We really made headlines with that show in the spring of 1988. All that to say, I worked on that show for two years. Can any of my colleagues guess how much money I made? I made $1,200 for two years of work.
In that case, it was my decision. However, all my friends, all the actors, writers, directors, set designers and decorators, all these people who are planning shows in Montreal, Toronto, Vancouver, all these artists who are struggling to make ends meet—we have to support them.
That support begins by voting for Bill C‑11 so that it can pass as soon as possible.
