A key figure in modern Quebec theatre passes away.

Jerky ol' Jean-Claude: A Tribute to a Cultural Titan

The legendary figure in the realms of theater, literature, and cultural management, Jean-Claude Germain, kicked the bucket at the ripe age of 85 in Magog. This outlaw of the arts, known for his sheer audacity and unwavering passion, left quite a mark on Quebec's cultural landscape.

The artistic director of Centre du Théâtre d'Aujourd'hui, Sylvain Bélanger, shared the grim news on social media, "Just heard about the passing of our beloved Jean-Claude Germain from the peepers of his little girl, Christine. This news sucked the last bits of my bubblegum," he posted.

Fondly referred to as 'Jerky ol' Jean-Claude,' Germain was a Chenonbreaker, a storyteller, and a balls-to-the-wall cultural maverick. He was a patron of the stage, the King of the Quill, and the Pied Piper of Quebecois dramaturgy, with a thunderous cackle and pipe always tagging along.

In a world dominated by classical French fart-fests, our man Germain was the harbinger of a rebellion. He was the scent of fresh air that radiated from the former garage on Papineau Street, where the Centre du Théâtre d'Aujourd'hui once stood, and where the seeds of contemporary Quebec drama were sown.

Germain penned nearly thirty plays, that graced the stages of the '70s, earning him the prestigious Victor-Morin Prize from the Société Saint-Jean-Baptiste de Montréal in '77 for his remarkable contributions to Quebec theater. Les hauts et les bas de la vie d'une diva: Sarah Ménard par eux-mêmes (1974), featuring his late partner, Nicole Leblanc, and its sequel Les nuits de l'indiva, are noteworthy among his work.

Born on June 18, 1939, in the concrete jungle of Montreal, as an only child, Germain discovered the city tagging along with his itinerant daddy-o. His first brush with the stage was as a teen, while visiting the Gesu, where the Théâtre du Nouveau Monde (TNM) and the Théâtre-Club performed in the '50s.

With a degree in history from the University of Montreal and a stint as a journalist and theater critic at Le Petit Journal under his belt, Germain became the big kahuna at the Centre d'essai des auteurs dramatiques (CEAD) in 1968. His unforgettable laugh and pipe were always the cherry on top of his public appearances.

In a video interview for the 40th anniversary of the CEAD, the theater prodigy snarked, "Nothing happened in the '60s. The theater of the '60s was like that of the '50s." He was the firestarter that lit the fuse for the blossoming Quebec theater scene.

Sylvain Bélanger, the artistic director of Centre du Théâtre d'Aujourd'hui, added a tribute on the theater's Facebook page, "Thanks for your audacity, my buddy. Thanks for everything you've cleared with passion, with clarity, with brains, and always with a contagious glee. In my name and in the name of our ragtag team: our deepest respects and homage."

Our man Germain proved that he was the man with the plan when he became the artistic director of Théâtre d'Aujourd'hui in 1972 and, alongside Robert Spickler, fixed its identity crisis and gave it a bangin' new direction: to put the spotlight on Quebecois dramaturgy and revolutionize the theater game.

Rest in peace, Jerky ol' Jean-Claude. You were a star, a legend, and the definition of a free-spirit. Your thunderous laugh and pipe will live on in our hearts. Your audacity, commitment, and gifts as a builder and enchanter have etched your name in the starlit sky of Quebec's cultural landscape. We'll miss you, Germain. Keep 'em laughing up there, buddy. ✌️科をつけろ，ジャンヌがるまいん！あなたのansonianiララバリーの鳴き声、俺たちの心の中に依

Jean-Claude Germain, the playwright and cultural maverick from Quebec, was recognized for his contributions to the arts with the Victor-Morin Prize in 1977,, acknowledging his role as an ironic entertainer and a cornerstone in the development of contemporary Quebec drama.
As a cultural titan, Jean-Claude Germain graced the stages of Quebec with nearly thirty plays during the 70s, bringing a sense of freshness and rebellion to the traditional French theater scene, which can be seen as a testament to his vocation as an arts innovator.
In the realm of Quebecois dramaturgy, Jean-Claude Germain can be likened to a Pied Piper, leading the movement with his audacity and passion, while simultaneously providing a dose of irony and entertainment to audiences across the province, eternally leaving a lasting impact on the arts community.