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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.

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PULSATION, BREATHING, SUSPENSION

PULSATION, BREATHING, SUSPENSION

CAROLINE LAURIN-BEAUCAGE / LORGANISME + MONTRÉAL DANSE

 © Caroline Désilets

A stage piece ,an architectural videoprojection, a solo insitu…with Rebo(u)nd, Ground and Habiter sa mémoire, the choreographer pursues her study of the body as material. Three very distinct works… that are intimately linked.

From one piece to the next, both on and offstage and with a fresh simplicity, Caroline encourages the spectator to experience and reflect on the body. She captivates with her focus on biomechanics, and also the precision, repetition and amplification of gestures. Here the body is not lauded for its prowess but for its sensitivity, a link to the soul that is at the very heart of a spartan yet poetic choreographic universe. Influenced and enriched by the sciences (neuroscience, anatomy, psychology, philosophy), the choreographer’s imagination leads to works that are beautifully sensitive, open and accessible to all.

BREATHING

A four hour performance piece, Habiter sa mémoire is both a work of ongoing research and an offering to the city and to passersby. Installed in a transparent cube, the choreographer plunges once again into the heart of her work as adancer, bringing to the surface all the traces and memories of her body. Humbly offering her living art to people walkingby, to citizens from here and elsewhere and in all weathers, she creates a simple,touchingly effective encounter between contemporary dance, the patient work of the body, and the publicspace.

PULSATION

Ground,a new stage piece for five dancers, explores the physical and organic constraints imposed by gravity, our earthly bond whereby the body is constantly and subtly struggling to function. Working on gestures that are copied and amplified by the individuals int hegroup, Ground reveals the shared urges and interdependent dynamics of a socialbody.

SUSPENSION

Rebo(u)nd is a choreography of suspension that reveals the ephemeral instant when the dancer is floating between forward momentum and falling, between freedom and loss of balance. This architectural video in slow motion of dancers caught in mid-fl ight will be projected by mapping on the walls of downtown buildings. At the heart of the project is her desire to share the sensation of total abandon and freedom that dance has given her, to shed light on this art form.

“I WANTED TO SHOW IN AN INSTANT THE SENSATION OF WEIGHTLESSNESS AND LOSING BALANCE, MAKING IT PALPABLE AND ACCESSIBLE TO ALL. I WANTED TO SEE THE MOMENTUM OF THE BODY BECOME PART OF OUR ARCHITECTURE ,OUR URBAN ENVIRONMENT.”

HABITER SA MÉMOIRE – LORGANISME

GROUND and REBO(U)ND – A Montréal Danse production. Coproduction: Agora de la danse

Ground and Rebo(u)nd are one of the 200 exceptional projects funded through the Canada Council for the Arts’ New Chapter program. With this $35M investment, the Council supports the creation and sharing of the arts in communities across Canada

IDENTITY TRANSFORMED

MÉLANIE DEMERS / MAYDAY

© Sabrina Reeves

The multi-platform artist Mélanie Demers beguiles with rich and complex original work imbued with explosive energy and dramatic intensity. She is the recipient of the 2015 Prix du Conseil des arts et des lettres du Québec award for best choreography for her piece WOULD. She also received the Buddies in Bad Times Vanguard Award for Risk and Innovation for Icône Pop when it was presented at the Summer Works Performance Festival in Toronto in 2017.

With Danse Mutante she has embarked on a choreographic metamorphosis that revisits the idea of co-creation and collaboration. Like an evolving suite, three choreographers on three continents add to and pass on the fruits of their labour. The original piece by Mélanie Demers, created in Montreal and presented at the opening of OFFTA, is the point of departure for a suite of mutations that keeps evolving from the most recent opus. The dancers are the memory and knowledge keepers. As usual, the choreographer works closely with her collaborators. In this piece, Francis Ducharme and Riley Sims are entrusted with the mission of embodying a dance destined for eternal transformation.

“IT IS THE DANCERS, THE GUARDIANS OF THE PROJECT, WHO ARE THE FOCAL POINT OF DANSE MUTANTE. IT IS THEY WHO TRAVEL, WHO MEET WITH THE CHOREOGRAPHERS. THEY PERSONIFY MUTATION.”

While Danse Mutante takes an original look at the work of artistic creation and the gestation of ideas, the premise is inevitably imbued with the idea of transformation, a concept intrinsic to creation. The dancers will travel to meet with other choreographers, and the piece will be transformed by the visions of Ann Liv Young (New York), Kettly Noël (Bamako) and Ann Van den Broek (Antwerp/Rotterdam). These three artists will distil from the previous version yet another variant, such that with each stop Danse Mutante becomes corrupted, remixed, reworked or perhaps even inverted. Each version of Danse Mutante will be presented, individually or together, and the work as a whole will be unveiled in Montreal in the form of a marathon event in autumn 2019. Like a sporting achievement, the dancers will perform the four versions in a dance that undergoes constant mutation.

This spring Mélanie Demers had also remount Icône Pop, a solo accompanied by live music and presented in an underground parking lot in Montreal. In a piece that is more performance art than dance, she sketches a portrait of splintered female identity, the multiple postures of woman. From Beyoncé to the Virgin Mary.

DANSE-MUTANTE –  opening of the OFFTA 2018 (Montréal) festival In partnership with Agora de la danse

ICÔNE POP  Coproduction: Operaestate Festival – Comune di Bassano del Grappa.

Danse Mutante is one of the 200 exceptional projects funded through the Canada Council for the Arts’ New Chapter program. With this $35M investment, the Council supports the creation and sharing of the arts in communities across Canada.

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ONCE DANCE REDISCOVERS THE BODY…

ONCE DANCE REDISCOVERS THE BODY…

Interview of
BENOÎT LACHAMBRE / PAR B.L.EUX COMPANY

(c)Laurent Theillet

Benoît Lachambre is the visual and kinesthetic designer and director of Fluid Grounds, which had its world première at the FestivalTransAmériques on June 1, 2 and 3, 2018. Fluid Grounds is the second part of a trilogy that began with Lifeguard.

Your artistic approach and your teaching reflect the notion of reconnecting with the self and with each other, the idea that links between bodies are very important. Why is that?

For me it is essential to work in horizontal fashion on “relations”, to be attuned to the sensitive potential of our bodies and the multiple links that we maintain with our environment. We must really question the rational and patriarchal concepts anchored in our thinking and behaviours so that we can rediscover how bodies can serve as catalysts, a means of creating connection and meaning between what each one of us is capable of feeling.

From early childhood, and particularly from the moment the politicized educational system begins to affect the development of our consciousness, we are led to divide the bodyagainstitself,andalsoinhowitrelatestotheimmediate environment on many different levels. We must work at reconnecting those bonds if we want to continue to evolve as a species, to change our rapport with being and living,  to greatly modify our behaviour. It is a lengthy process. We are caught up in these patterns of division within our bodies and with our environment, to the point that we must relearn ourselves.That is why my art and my teaching are somatic,or body-focused.

Somatic practices help me shedlighton what is essential.This movement of searching for authenticity has led me to work on how things relate to eachother,on myriad sorts of connections and ways of living, providing a spark of what might constitute the primordial functions of dance. A somatic approach involves plunging deeply into many layers of awareness. That work allows me to perceive the deep history of what emerges from life around me,what makes me who I am. I am very respectful of Indigenous beliefs. I realize that I was born in and live in Mohawk territory that was never handed over. A decolonization of our bodies and minds is called for if wewish to consider developing our consciousness.

In my danceworks and in my teaching,I look for links that will help me reconnect and work on instinctive memories. That is why I work in sustained, malleable fashion with energy and magnetic fields.It’s as though there are memories and organic knowledge that we have lost.

Dance has been diverted from its original purpose and has become, for economic and political reasons, a product. By placing the function of empathy in the forefront, we become aware that it is an ancestral, inter-species, inter-bodies and inter-spaces necessity that conveys important transfers of forces and of life.

Once dance rediscovers the body, we will begin to experience dance on a daily basis as something that can build structures that will help change our ways of thinking about life and the environment.

Standardization closes and limits knowledge to a rational framework. I am constantly trying to dismantle that attitude in my artistic and pedagogical approach, proposing exercises and ways of contemplating a more multifaceted existence. I emphasize ancient somatic knowledge that exists in many non-Westerncultures, aspects that far too often are repressed by standardization.

How do body-focused practices integrate the spectator in yourwork?

 When proposing these practices, I suggest to spectators a newwayofengagingwithtime,spaceandrelations.Iinvitethem to become aware of their potential, and try to create an inclusive method that allows for integrating the space as a group. If we are all unique, it is due to the singularity that we are capable of communicating through space. What I seek in my work is spectators who are freed of their points of view and their mobility.

So the spectator becomes a choreographic element?

The dynamic that spectators inspire and their way of positioning themselves in the space in relation to others becomes for me a spontaneous choreography. That creates a sort of choreography of connections, of community, defined by human presences in movement. In my work the body is constantly establishing connections, and in those connections lie greater mobility and incredible dance.

SOMATIC PRACTICES HELP ME SHED LIGHT ON WHAT IS ESSENTIAL. THIS MOVEMENT OF SEARCHING FOR AUTHENTICITY HAS LED ME TO WORK ON HOW THINGS RELATE TO EACHOTHER, ON MYRIAD SORTS OF CONNECTIONS AND WAYS OF LIVING

FLUID GROUNDS IS PRODUCED BY PAR B.L.EUX AND SOPHIE CORRIVEAU

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Art Circulation : A magazine to discover the artistic approaches of our companies

Art Circulation : A magazine to discover the artistic approaches of our companies

Art Circulation now has its own Magazine ! Follow the link to discover it !

Good reading !

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Art Circulation à l’heure du FTA 2018

Art Circulation à l’heure du FTA 2018

Art Circulation offers a series of activities alongside Festival TransAmériques.

Discover the whole program here.

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Benoît Lachambre @ FTA 2018 ! with FLUID GROUNDS

Benoît Lachambre @ FTA 2018 ! with FLUID GROUNDS

Fluid Grounds, an ambulatory choreographic quartet performance mapped out and set in motion by Benoît Lachambre is part of the FTA 2018 official programming!

Fluid Grounds is a production of Par B.L.eux and Sophie Corriveau in coproduction with Agora de la danse and Festival TransAmériques and Charleroi Danse. Read more

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Art Circulation during FTA 2017

Art Circulation during FTA 2017

Once again, Art Circulation offers a series of activities alongside Festival TransAmériques.

Discover the whole program here.

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Art Circulation at OFF-CINARS

Art Circulation at OFF-CINARS

As part of OFF-CINARS, Art Circulation invites promoters, producers, as well as art professionals and dance fans to a series of performances from the companies it counts as members presented on the fringes of the 2016 edition of CINARS.

This series includes works from Mélanie Demers | MAYDAY (Icône Pop, Animal triste), Marie Béland | maribé – sors de ce corps (Between, Beside, in coproduction with Montréal Danse), Montréal Danse (Instant Community), and Manon Oligny | Manon fait de la danse (Fin de série). You may also discover Caroline Laurin-Beaucage and her in-situ installation Habiter sa mémoire at Place-des-Arts.

Discover the schedules of the performances! Browse through Art Circulation’s portfolio!

Meet Art Circulation at CINARS, at STAND 141!

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BETWEEN | Marie Béland | maribé – sors de ce corps & Montréal Danse

Marie Béland is interested in words as body movement, as sensation. Plunged into an incessant spoken discourse, the body reveals an “invisible choreography” which questions the identity of a dance that is free of gestural dancing, but filled with danced gestures. Circuit-Est – Studio C – November 15, 2016 | 12:45PM – 01:35PM + Circuit-Est – Studio Peter-Boneham – November 17, 2016 | 08:30PM – 09:15PM

Habiter sa mémoire | Caroline-Laurin-Beaucage | Lorganisme

For several uninterrupted hours, positioned inside a box without walls, the performer plunges into the heart of her body’s dance memories. Sensors capture data on Caroline’s physical state and the surrounding atmosphere, and these are retransmitted live during the performance. Outdoor in-situ performance from 04:00PM to 8:30PM | Square next to Place-des-Arts’ main entrance | 175, Sainte-Catherine West [08:00 to 08:30PM – Showcase Off-Cinars]


Animal triste | Mélanie Demers | MAYDAY

In the world’s grand parade, humans are little more than sad animals. But animals that find solace in beauty, in a desire for immortality. Animal Triste is a kind of freeze frame, an attempt to understand nature and the role of mankind in all its humanity. Circuit-Est – Studio Jeanne-Renaud  | November 15, 2016 | 08:30PM – 09:30PM

Promotion in partnership with Suzie Larivée – La Tribu (France & Canada)

Instant Community | Kathy Casey, Sylvain Lafortune, Brice Noeser Peter Quanz, Peter Trosztmer | Montréal Danse

What we create, feel, experience is deeply dependent on how those around us feel, react, interact. A visual as much as a choreographic experience, social rather than spectacular, Instant Community explores our ability to collectively produce meaning and work, questioning our relationships to others, our means of communicating. Circuit-Est – Studio C | November 16, 2016 | 09:00PM – 10:30PM

Fin de série | Manon Oligny | Manon fait de la danse

Fin de série is intended as a choreographic and political manifesto, introducing five girls identically dressed and hair-styled, like androids. They feature typical female forms and stereotypes, appearing as though they have just sprung from a manufacturing plant. Short live performance (5-7min) in a continuous loop | Window display at CDEx UQAM 01:50PM-2:20PM | 405, Sainte-Catherine Est (corner Saint-Denis)

Icône Pop | Mélanie Demers | Mayday

Created upon the invitation of B-Motion (Bassano), Icône Pop is a playful clash between religious and pop iconographies, the sacred and the profane, saintly glorification and self-glorification. Featuring the auras of the Virgin Mary and Beyoncé in a striptease of the utmost modesty. Circuit-Est – Studio Jeanne-Renaud | November 18, 2016 | 01:30PM – 02:00PM

Promotion in partnership with Suzie Larivée – La Tribu (France & Canada)

 

BESIDE | Marie Béland | maribé – sors de ce corps & Montréal Danse

Presentation of excerpts from the choreographic research for the new creation BESIDE. Words as well as movement are drawn from the Internet, that infinite bank of information. The performers adopt a specialized discourse borrowed from others in a game of credibility and precarity Who is saying what? Circuit-Est – Studio Peter Boneham | November 18, 2016 | 12:45PM – 01:00PM


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Art Circulation & Manon fait de la danse

Art Circulation & Manon fait de la danse

Art Circulation is proud to welcome choreographer Manon Oligny‘s company Manon de la danse, as an associate-member. The company benefits promotional services, in particular for the piece Fin de Série.

Press kit for the piece Fin de série (pdf)

The company Manon fait de la danse was established in 1999. Without frills, Manon Oligny nonetheless explores the fabric and stitches of human beings. She is interested in the fragility and complexity of individuals, creating tough, spirited and carnal choreographies with theatrical flair and urgency of movement. She confronts the body with its physical and mental limits. The line between sensuality and pain is far from being a straight one.

Displaying a wide range of emotions from pink to black, the choreographer examines the feminine – its representations (whether taboo or banal), its constraints, its urges – as well as the desecration and marketing of women’s bodies. Using fallen princesses and characters from fairy tales (Blanche-Neige (pas selon Disney!), 2009), Manon Oligny tactfully deconstructs and distorts the thorny symbolic associated with these archetypes. Animal figures, particularly horses, are also recurrent in her work (Pouliches, d’après l’oeuvre de Cindy Sherman in 2007 and L’Écurie in 2008), evoking the wild and untameable side of human beings.

Interdisciplinarity is a driving force in Oligny’s work, often collaborating with photographers, filmmakers, writers and digital artists. Different art forms and technologies fuel her critical thinking about choreography, making her creations that much richer. Her desire to probe diverse aspects of human nature and to explore new ways of creating has led her, beginning in 2013, to conceive projects with younger people and involve them in the creative process (CRASH : Quand le jeu vidéo rencontre la danse contemporaine).

In a very straightforward manner, Manon Oligny uses dance to reflect on the human circus. A theater of impatience, passions and raging identity.

http://www.manonfaitdeladanse.com