With rigor and folly, Gpm enjoys putting body and speech in motion. They force our mind to expand and strike a pose that is sometimes awkward before resolving all tension into laughter. All situations are ephemeral; rapidly constructed, and then vanish into thin air in the blink of an eye. The actors change their appearance, and become themselves once more. Certain moments are performed in such a way that rhythm and scansion become embodied with words and form becomes the principal raison d’être of the text. It is first and foremost about working on words: play on words, sounds, deconstruction, inventing conjugations, etc. Gpm has thus wagered on putting into play shows where form takes precedence over meaning through an amalgam of texts where a story framework is “drawn”, an essential main-thread-pretext for supporting the performance and dramatic action. More than simply relating a story, informing an audience or even making sense, Gpm attempts mostly to catch their audience off guard. If they entertain it is sideways, a sort of collateral effect of their first intent —writing—through the verve of their performance and the brilliance of their feat. The artistic work of Gpm is renowned throughout Quebec’s theatre community and beyond, for its rigor and the originality of their approach.