(Français) // FLUID GROUNDS EN SUÉDE – UN MOIS AU WANÅS KONST ! //

C’est une première !
Fluid Grounds (Benoît Lachambre – Par B.L.eux & Sophie Corriveau), est accueillie pour une longue durée au sein d’un espace muséal !
Après un montage en direct dans la galerie du Wanås Konst, cette oeuvre hybride déploiera son plein potentiel d’installation déambulatoire en présence du public suédois durant tout le mois de juillet ! Pendant plusieurs semaine consécutives, Benoît Lachambre, Sophie Corriveau, Rachel Tess, commissaire en dance au Wanås Konst, ainsi qu’Andrew Turner traceront au fil des présences un historique du relationnel, et une nouvelle danse des possibles.

Fluid Grounds sera ensuite présenté au Tanz Im August à Berlin du 9 au 11 août.

INFOS :
DU 1ER AU 28 JUILLET // WANÅS KONST (WANÅS, SUÈDE)
DU 9 AU 11 AOÛT // TANZ IN AUGUST (BERLIN, ALLEMAGNE)

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Art Circulation during FTA

Art Circulation during FTA

Discover our SATELLITES programming during Festival TransAmeriques 2019. Five performances by our member companies, five exciting artistic propositions. An edition under the sign of audacity and strong connections.

Come and meet us at our cocktail party on May 29, 5-7pm! Artists and representatives of the companies will be there. Let’s seize this opportunity to celebrate and talk about the future together – about creating, sharing, and outreach!

Discover the whole program here (PDF)

  • May 28, 1pm, Danse-Cité : Normal Desires, CCOV
  • May 29, 4pm, Montréal Danse : Instant Community / Circuit-Est – Studio B (1881, St André)
  • May 29, 5pm-7pm, Cocktail Art Circulation, Diss Torsion studio
  • May 30, 1pm, maribé – sors de ce corps et Montréal Danse : BESIDE / Circuit-Est – Jeanne-Renaud studio (2022, Sherbrooke East) – *** showcase in french***
  • May 31, 3pm, maribé – sors de ce corps et Montréal Danse : BESIDE / Circuit-Est – Jeanne-Renaud studio (2022, Sherbrooke East ) *** showcase in english***
  • June 2, 1.30pm, MAYDAY : Danse Mutante- Cantique, Mélanie Demers
    Circuit-Est – Jeanne-Renaud studio ( 2022, Sherbrooke East )
  • June 4, 3pm, Montréal Danse : Ground
    Agora de la danse – salle bleue (1435, Bleury st)


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// FLUIDS GROUNDS IN BRUSSELS

// FLUIDS GROUNDS IN BRUSSELS

Fluid Grounds (2018) will be presented in Brussels at La Raffinerie by coproducer Charleroi Danse before embarking on the rest of its European tour. Mapped out and set in motion by Benoît Lachambre, Fluid Grounds by Par B.L.eux and Sophie Corriveau — in coproduction with Agora de la danse, Festival TransAmériques and Charleroi Danse — is the second part of a triptych that began with Lifeguard (a solo created by Benoît Lachambre in 2016). The work occupies a space between performative experience and visual installation, its lines traced by five performers as they redraw the contours of dance. Reshaped by welcome interactions with the audience, the path created solicits the imagination, creating a rainbow, a colourful sculpture, the memory of an encounter. A poetic, playful act with profound resonance, Fluid Grounds reveals a landscape where anything is possible. These performances of Fluid Grounds will be preceded by a two-week intensive workshop related to the piece.

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QUEBEC TOUR OF LIFEGUARD

QUEBEC TOUR OF LIFEGUARD

Benoît Lachambre will be on touring in Quebec for his creation Lifeguard (2016), first work of a triptych which he continued in 2018 with Fluid Grounds. He’ll also give workshops during this touring. Comme discover Lifeguard, intimate piece that unfolds like a stroll and examines our notions about presence and the resonance of movement. This work aims to create an intimate space where the spectator plays an important role. Lifeguard works best in performance spaces that allow for close contact between audience and artist.

Upcoming dates 2019 :
April, 18th : SPEC // St-Jean-sur-Richelieu, Québec (Canada)
INFORMATIONS – SOLD OUT
April 24, 25, 26th : La Rotonde // Québec (Canada)
INFORMATIONS

Workshop :
April, 23, 24th : L’Artère // Québec (Canada) INFORMATIONS

© FABBRICA EUROPA

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FLUIDS GROUNDS // PERFORMANCES IN MEXICO

FLUIDS GROUNDS // PERFORMANCES IN MEXICO

Fluid Grounds, Par B.L.eux’s last creation, will be presented in Mexico on March 14, 15, 16th for 3 dates at Museo Universitario del Chopo. Those performances will be preceded by a two week workshop by Benoît Lachambre at CEPRODAC of Mexico City.

Fluid Grounds is an ambulatory choreographic quintet performance mapped out and set in motion by Benoît Lachambre. The second part of a triptych that began with Lifeguard (a solo created by Benoît Lachambre in 2016), Fluid Grounds is a production of Par B.L.eux and Sophie Corriveau in coproduction with Agora de la danseFestival TransAmériques and Charleroi Danse. Showcasing movement and its emotion through sensory and imagination awakening, Fluid Grounds is a vibratory and sensory space where body and dance coexist and join all aspects of the work together : presence, action and what unites and survives us.

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Voices of our artists

Voices of our artists

Take the time to discover the singular voices of our artists!

Benoît Lachambre / Par B.L.eux : Once dance rediscovers the body…

Marie Béland / maribé, sors de ce corps – Thoughts on the reality of fiction

Caroline Laurin Beaucage / Montréal Danse – Pulsation, breathing, suspension

Mélanie Demers / MAYDAY – Identity transformed

Emile Pineault / Danse-Cité – A post-acrobatic performance

The body according to… Benoît Lachambre, Kathy Casey, Mélanie Demers, Marie Béland, David Albert-Toth & Emily Gualtieri

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Fluid Grounds by Benoît Lachambre I Par B.L.eux European Premiere at Centre national de la danse de Pantin

Fluid Grounds by Benoît Lachambre I Par B.L.eux European Premiere at Centre national de la danse de Pantin

Fluid Grounds, Par B.L.eux most recent opus, in collaboration with Sophie Corriveau, will be premiered in Europe at the Centre National de la danse in Pantin on June 20th. Free entrance. A co-presentation of Centre national de la danse and June Events as part of the Camping #4 event. At this occasion, Benoît Lachambre will offer two weeks of intensive workshops around Fluid Grounds, the somatic practices and the creative process.

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CARTE BLANCHE TO MARIE BÉLAND – THOUGHTS ON THE REALITY OF FICTION

CARTE BLANCHE TO MARIE BÉLAND – THOUGHTS ON THE REALITY OF FICTION

Marie Béland – maribé – sors de ce corps
© Jean-François Brière

For 15 years, Marie Béland has choreographed seemingly carefree works, in which the body exceeds the dance: real bodies, daily bodies, ordinary bodies are at the core of a subtle and complex choreographic organisation, setting the background for a profound contemplation of human nature and of social relationships.

« What relationship does performing art entertain with fiction? In my work, I have often sought to come closer to a certain « reality »: by having the performers play themselves, by crossing the proverbial fourth wall, by referring to the work within the work itself, and so on. My ambition in adopting these strategies was to bridge the distance between art and artist, audience and life. In the end, however, this distance remains, and raises an increasing number of questions for me.

This question of what is true, of what is real, is not new: as far back as the 18th century, the idea of a 4th wall appeared in the theatre, precisely so actors could turn their backs to the audience, thereby creating a more « believable » performance. This is the paradox that continues to inhabit and inform performing art today. The codes and devices it employs, even those seeking to liberate the body, give the body its fabricated character. What, then, is the « authentic » body, when each of our behaviours is dictated by learned processes? Furthermore, is a body untrained in the codes of performance necessarily more free?

In my opinion, the stage may merely be a frame placed around the constructed and artificial aspect of our lives. Between the stage and life, there exists a continuum of truths and falsehoods in which art contains many truths, and life is predictable, dictated by many scores. Everything is true onstage: the presence of artists and spectators gathered together, the immediate and unmediated experience of the work, the uniqueness of the moment, which can never be reproduced in identical fashion. And everything is false: the artifice and decorum of performance, the score of the work, which no matter what degree of randomness it allows, is always a text to be played.  Is this not also our daily lot? Is not our day-to-day existence a complex entwinement of reality and fiction? This makes the concept of reality quite relative. We could say that the most « realistic » performance is the one which most closely portrays reality (which one?) or daily existence (whose?). And yet, the most complex danced movement also portrays a reality, no less valid though more unusual, and shared at least by those who can execute it (the dancers).

Thus, performance is always as relevant to me in its way of reflecting what we are, even our ambiguous and paradoxical relationship to reality and truth. »

Marie Béland

BESIDE
COPRODUCTION : MARIBÉ – SORS DE CE CORPS; MONTRÉAL DANSE. PARTNERS : CARDIFF DANCE FESTIVAL AND DANCE 4 NOTTINGHAM

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The Body according to…

The Body according to…

THE BODY ACCORDING TO…

Marie Béland:

“ I think the body as the expression of everything that we absorb. Everything our senses can perceive moulds and shapes us, animates us, causing us to act somehow. Our thoughts, opinions and emotions transform and propel our flesh. Our bodies are vectors. I really couldn’t care less whether we call this dance or not. I am fascinated by what makes the body alive. ”

Benoît Lachambre:

“ The body is a vector of meanings and connections. It presents us with a laboratory for exploring the ever-shifting mobilities and dynamics of everything that comprises it.

The body’s mobility is not merely spatial; it pertains to identity and is in constant cellular mutation. It is in a perpetual cycle of transformation. The body is not simply a separate and autonomous entity. It is a binding agent, in flux. It is recognition and cohabitation, coexisting with everything that surrounds and comprises it, in an act of creation. Defining its adaptations in relation to its environment, the body, through the filter of our senses, becomes this multitude of influences. The empathic abilities of the body surpass all expectations and preconceived values.

The body presents us with an infinite range of the possible, in direct measure to the openness that we are prepared to grant it. ”

Mélanie Demers:

“ The body is failure

The body is celebration

The body is prison

The body is ceremony

The body is hurt, is humiliated

The body is roadmap, forgotten at the bottom of the glove compartment

The body is vehicle

The body is distinguishing feature

The body is flea market, pawnshop, nightclub

The body is up for auction

The body is covert

The body is threats

The body is screwed

The body is without the shadow of a doubt

The body is palliative care

The body is sovereign

The body is magical

The body is gooey sex

The body is helpless baby we must protect otherwise he will die

The body is nervous shock

The body is vital sign

The body is tremor

The body is every thing

The body is canon fodder

The body is weak spot

The body is slave

The body is enclave

The body is all things considered

The body is eruption

The body is exclusive preserve

The body is out of stock

The body is disappearance

The body is endangered

The body is raw nerve

The body is war machine

The body is inventory

The body is ugly

The body is perfect as it is.”

Kathy Casey:

“ In our recent creation, Instant Community, my view of the performing body was altered. This work is a reflection on how we reflexively film everything we experience so that real becomes virtual. The movement of the live dancers in the piece was determined by what was necessary for their projected images to have the movement qualities of the visual illusions being created. The actual dancers became secondary, in a sense, to their virtual selves. The real actions often looked quite banal in comparison to their more spectacular projected selves. The surprise was how particular and interesting the presence of this secondary performance was to watch.”

 David Albert-Toth & Emily Gualtieri:

“We see the body as both a vehicle of our will and as a resisting force to it. It is within it that we hold our stories and it is with it that we try our best to recount them. It is also our shell – our protective barrier. This must be nurtured and strengthened. It must also be broken down. The body then is fundamentally the meeting point between the inner and the outer, both on a very real, physiological level, and on a poetic plane. It is in the brash meeting of contrasting solitudes (in/out, willed/unwilled…) that our truth emanates. The interesting thing, then, is to question how we put the body in dialogue with itself.”

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A POST-ACROBATIC PERFORMANCE

A POST-ACROBATIC PERFORMANCE

EMILE PINEAULT / DANSE-CITÉ

© Julien Brun

Emile  Pineault has been immersed in the circus world from an early age and has worked as a professional acrobat for several years. In the process, he has gone through a profound reassessment of his practice and of the artistic milieu in which it is based. He understands the body in the same way he understands theatre: As a space made hermetic by the conventions it is subjected to, but a space that can, in time, open itself, expand and fl ourish through a sensitive transgression of these same conventions. Standing clearly apart from current aesthetics, which tend to define and frame circus practice, Emile disorganizes the framework, challenging existing codes and their limits in order to break free and transcend them.His body is the territory of these explorations.

“ Through movement, I seek to de-formalize the body. By pushing the movement further, I surpass my own body, my own limits, as well as the limits of circus and of form itself. (…) How is it possible to give the audience access to those painful and exquisite sensations the acrobat is constantly negotiating? I wish to turn the acrobatic performance into a shared experience, as visceral and tangible to the audience as it is to the acrobat. ”

His new solo, Normal Desires, invites the audience to slip into the acrobat’s skin. Onstage, intertwined with light and sound, a single figure is seen in a state of perpetual overflow, his outlines blurred by a kinetic ecstasy. Impact, flux, repetition, constraint, compression, thrust, heat and vibration take us on a journey through a series of affective states and spaces. Unusual shapes emerge, which are simultaneously sensual, rigorous and hypnotic. In Normal Desires, Emile Pineault’s body refuses normality and convention to share a sensory experience of the acrobatic performance that is both subtle and intense.

NORMAL DESIRES A Danse-Cité production in collaboration with Emile Pineault.

NORMAL DESIRES (60 MINUTES) will be presented during the 37th season of Danse-Cité (www.danse-cite.org) for 8 performances at La Chapelle, scènes contemporaines, from november 22 to december 1.