Méprisé, mais pas méprisable – échec de la rhétorique de dissuasion dans Demain matin, Montréal m’attend de Michel Tremblay

In Demain matin, Montréal m’attend, a comedy by Michel Tremblay written in the era of a Quiet Revolution, contempt takes on an argumentative value. Lola Lee, a singer and artist in La Main – an artistic neighborhood in Montreal. Lola’s younger sister – Louise – is jealous of the popularity gained by her older sibling. Lola Lee, in the attempt to discourage Louise from the idea of following in her footsteps travels with her through the most infamous artistic venues. During this trip Louise meets artists with questionable morals. The aim of the article is firstly to show how this journey, instead of generating contempt, becomes the core of searching for your own artistic identity. Secondly, the article explains how Tremblay’s art, using metaphors in the style of Almodóvar, represent the national dramaturgy of Quebec, in which the hero, which is an allegory of the whole society, undergoes an evolution that allows him to appreciate his own identity instead of despising it.