"The Notion of Justice"

The absurd conceit that there is a special absolution for thespians and artists who engage in hugely destructive acts of violence against others is nonsensical.

If a celebrity figure behaves in a socially egregious manner, let alone a violently aggressive one, that person is as guilty of criminal transgression as any other member of society. Their artistic talent does not in any way, shape or form exclude them from being judged under the law as any one else might be.

An artistic genius who surrenders to the incredible impulse to murder someone is still a murderer. A trial has just recently concluded where a film producer in Western Canada entrapped a stranger by enticing him to a meeting at a remote and isolated place where he could be murdered.

It would appear that the experience of having killed someone was undertaken to satisfy curiosity, artistic curiosity. So that the murderer could satisfy his theatrical muse by writing about the experience with the full benefit of first-hand knowledge of the emotions, the struggle, the passion, and the evil deed done.

In the case of the French musical rock star Bertrand Cantat who beat his French girlfriend actress to death, the Lebanese-Canadian playwright, Wajdi Mouawad, Cantat's friend, argues extenuation through artistic genius. French film star Marie Trintignant was ferociously beaten around the head in a Lithuanian hotel, dying later of swelling of the brain.

A Lithuanian court had sentenced Cantat to an eight-year prison term for murder, and he had served half that time due to "good behaviour". All now must be forgiven; he has paid his due to society, as the famous phrase and sentiment goes. And, having done so, he should be admitted to Canada through a special Minister's permit to grace a Canadian stage in a theatrical performance.

Decency decrees otherwise, however, considering it an outrage that someone who murdered can be so cavalierly excused and re-assume his former role as a popular entertainer. The absurdity of the man being engaged to compose music for a series of plays based on Greek tragedy on the brutalization of women, and to act in the play as well, to emphasize the dichotomy of one who kills and who later repents, is in itself rather unpalatably theatrical.

Unfortunately, it appears to be a prevailing condition among the arts-and-theatrical set that one so talented should be excused any excesses. Much like the French director Roman Polanski, having raped a young underage girl being excused on the basis of his artistic directing genius from legal prosecution for his crime.

The artists involved at the NAC in the theatrical production of Des Femmes are prepared to stage a "unified show of support" for Cantat as "one of their own". A display of arrogant entitlement to special considerations not reflected in the public's opinion of celebrating and elevating a man who surrendered to the impulse to beat a woman to death.

But this is theatre, cutting edge and forgivingly avant garde as exemplified by the highly respected and wonderfully talented National Arts Centre's French artistic director Wajdi Mouawad. Who finds it most inconvenient that women's groups have raised a protest over his friend's involvement in the production of Des Femmes.

When all is said and done, Mr. Mouawad denies the logic of the protests, defends his friend's artistic talent and his "right to climb on stage", for he is not a criminal, since he has paid his due through his prison sentence. He is a murderer, yes, but his artistry surmounts and overshadows his status as one who had taken the life of another.

And he feels confident that the controversy will serve to clear peoples' minds, that it will be the pivot around which an important social discussion on "the notion of justice" and "what an artist is".