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“I didn’t perceive in any respect why we have been being separated into two classes of scholars,” he stated.
That first day set off a seek for identification — his personal and that of the French Québécois — that, virtually accidentally, ultimately launched his profession.
In 2009, he was invited to carry out on the Théâtre de Quat’Sous in Montreal, which then showcased immigrant artists each Monday night. Drawing on his life, he wrote and carried out a monologue that might develop into “Un,” the primary a part of his trilogy.
“Since my arrival in Quebec, I’ve by no means felt extra like a man from elsewhere, like a stranger, an exile, misplaced, an immigrant,” he stated within the play. “By no means have I needed to clarify so usually the place I got here from, to justify my accent, to explain my path, to pronounce over and over my household title.”
His anguished seek for identification in “Un” resonated in a province the place the dominant French Québécois had lengthy fought to protect their very own sense of self, surrounded as they’re by an English majority.
“Quebec is a society that’s needed to defend and defend itself, all the time positioning itself in opposition to the opposite,” Mr. Soleymanlou stated. “That’s one thing I didn’t perceive at first — that the Québécois wish to understand how you outline your self as a result of they need to outline themselves to guard themselves.”
Mr. Soleymanlou continued his seek for identification in “Deux,” in a dialogue with a bilingual Jewish Montrealer, after which in “Three,” which featured three dozen French audio system who weren’t French Québécois.
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