Luce Couture from Art Circulation shares her thoughts on the adaptation of dance creators to current sanitary measures.
May outings, June outings, August outings (out?)
Since last May, I have had the chance to see a few dance performances in various settings. The first shows I attended were those of the Festival TransAmériques which subjected us to masks and social distancing throughout the performance. I noticed that the isolation undergone during the past months led the audience to pay more attention to what was happening on stage, to think perhaps about the sorting of dancers, and for my part, to appreciate what I saw even more. I personally confronted what was offered to me. It must be said that the pieces that impressed me the most, Sierranevada by Manuel Roque, La Goddam Voie Lactée by Mélanie Demers and Dog Rising by Clara Furey, all exhibited the resilience and resistance we were able to demonstrate during the pandemic. I am full of admiration for these dancers who created in rather unusual conditions.In August, it was with Papillons: L’envolée by Helen Simard, that I regained contact with dance. A magical evening outside, in a superb setting, at the Monastery Gardens to be more precise, made me appreciate this work that I had only seen on a computer. The audience was delighted, the passers-by in the street too; I was too, of course. No mask, sitting on the grass, slightly distanced, a little drink for some and it was perfect.
Work: Papillon – Helen Simard
Performers: Jean-Pierre Mecdy – Nindy Banks
Photo: Hoi Do Phan