Christian Lapointe (born 1978) is a Canadian theatre director from Quebec. Biography clear Born in the region of Quebec, Christian Lapointe was admitted as a student in interpretation at the Conservatoire d'art dramatique de Québec and then trained in directing at the National Theater School of Canada, from where he graduated in 2005. In the fall of 2001, he directed a first triptych of short plays by William Butler Yeats. Following a co-production with a theatrical institution in Hanoi and the staging of a second play by the Irish poet Yeats, he entered, in 2003, the further education in directing at the National Theater School of Canada. . He is the founder of the Péril theater and artistic director of Carte Blanche. At the Festival TransAmériques 2015, he gave a performance lasting almost three days and two nights around the work of Antonin Artaud. He performed in the play Le 20 Novembre, conducted by Brigitte Haentjens. His performance earned him a nomination for the prize of the Association québécoise des critiques de théâtre. He also worked alongside Larry Tremblay for the play L'Enfant material for the staging. Over time, he established himself as a moving figure in Quebec theater thanks to the consistency and rigor of his approach, which is particularly atypical in the context of this theatrical landscape. In Sepsis, the last opus of the Cycle de la Disparition, six actors philosophize about their existence from a morgue. Moreover, death is a recurring theme in Lapointe's works, because the fact of being in a body that has a limited lifespan is an idea that obsesses him. When he was 19, he suffered an accident that required several skin grafts on his neck and torso; this event put his relationship to death in perspective. Heir to the symbolist movement, the writing of his shows borrows from performance art, is conceived from and around scenic devices and flirts with video installation. A pedagogue with an approach based around observable notions of the art of acting in the theatre, he is the creator of a pedagogical methodology centered on the thickening of the presence on stage by the modulation of scenic positioning within the framework of a actoral theatrical practice. Thus, text and gestures are intrinsically linked during its representations and can vary according to the energy and the attention of the public. Particular attention is paid to the relationship between stage