Showing

December 5, 2012, 9:45 am
  • Alan Lake Factori(e) (chorégraphe indépendant)

    Founded in 2008, the Alan Lake Factori(e) dance company has many stage and film productions in its repertoire. The Chaudière, déplacement et paysages (2009) and Là-bas le lointain projects both led to film and stage productions. In 2015, Ravages pushed the company’s artistic vision further than any other project: this work led to two dance films, namely JardinsCatastrophes (2014) and the award-winning Ravages (2015), which is currently making the rounds of world festivals. In 2016, the site-specific work Les Caveaux opened the season at La Rontonde. This bold work, created and presented in an old and abandoned plant in Limoilou, helped raise Alan Lake Factori(e)’s reputation even higher on the Quebec dance scene.

    • Là-bas, le lointain
      • Photo: François Gamache
      • Alan Lake

        Photo: Luc Sénécal

      A work in three acts:

      Tableau vivant [2 min] + Film [23 min]

      + Performance [50 min] = 75 min

      LÀ-BAS, LE LOINTAIN is a work in three acts: a tableau vivant, or living fresco that marries the body with sculptural elements, a film, or the creative starting point of this project, and a performance, a piece for four dancers.

      Featuring a community in perpetual motion, coming together and falling apart, a cascade of embraces lost and found.

      Creatures reflecting on life, death and memory.

      A desire for escape to contemplate the beauty of the world, accept the ephemeral nature of our bodies and the obsessive presence of absence.

  • Audrey Bergeron (chorégraphe indépendante)

    Audrey Bergeron is a graduate of the École de danse contemporaine de Montréal. She has performed in Loops by Ismaël Mouaraki of the dance company Destins Croisés, as well as in Vieux Thomas et la petite fée and L’Atelier by Hélène Langevin of Bouge de là. She was part of the cast of Jabbarnack!, directed by Jean Asselin and Réal Bossé, and La couleur du gris by Anne Sabourin, two Omnibus productions. She joined O Vertigo in 2013. As a choreographer, among other projects, she has created works for Tangente’s Danses Buissonnières series, the Festivals Quartiers Danses, Bouge d’ici and Zone Homa. Her choreography for Cirque Éloize was performed at the opening gala of the Montreal Symphony Orchestra (OSM). In addition, she has created dance flms that have been shown at several international festivals. Audrey Bergeron also works as a dance teacher and rehearsal director.

    • Errances
      • Roxane Duchesne Roy; Merryn Kritzinger, Susan Paulson.

        Photo: Ky Vy Le Duc (Capture d'écran)
      • Audrey Bergeron

        Photo: Maude Chauvin

      Total duration: 2:43 min

      Three women, somewhat adrift. One lost in forgetfulness, the other in perfect control and the last, exploding. A videodance project created in urgency, an aesthetic and impressive search, the balance between what is sensible and physical performance. This project is an initiative by Audrey Bergeron and Broke Lab, a sharing and artistic research laboratory created by Merryn Kritzinger, Susan Paulson and Roxane Duchesne-Roy.

  • Hinda Es-Sadiqi (chorégraphe indépendante)

    Marocaine, montréalaise, gourmande, grimpeuse zen, danseuse de tango, Hinda Essadiqi est une jeune chorégraphe contemporaine embrassant la création et la vie à la vitesse d’une rivière effrénée. Diplômée de l’Université Concordia en avril 2001, elle poursuit un trajet généreux. C’est grâce au support du CALQ, du CAC et du FMMJ qu’elle accomplit diverses collaborations internationales et présente son travail à l’étranger, notamment au Mexique et en Europe.

    Hinda se concentre aujourd’hui sur une recherche en vidéo-danse avec son dernier projet Un jardin de porcelaine.

    "Ma principale quête chorégraphique est de retrouver l’être authentique derrière chaque artiste, ainsi qu’un espace d’échange avec l’autre. C’est à l’aide du momentum du rebond, d’un travail de partenaire physique et d’une rythmique percussive que je construis une poésie en mouvement chargée et brute. Le support de la vidéo et de la littérature me permet de représenter le monde extérieur tout en ouvrant une fenêtre sur le monde intérieur de l’oeuvre. Mes racines marocaines et arabes me permettent de pousser l’exploration du rythme et des harmonies à travers la danse. Je m’inspire de mes danseurs, des gens que j’ai aimés et de ceux que j’aime encore." - Hinda Essadiqi

    • Un jardin de porcelaine
      • Hinda Es-Sadiqi; Pierre-Marc Ouellette; Emmanuel Proulx.

        Photo: Ben Philippi
      • Hinda Es-Sadiqi

        Photo: Pablo Rojas

      Presented in three chapters, Un jardin de porcelaine is a voyage into the heart of dreams and the unconscious. This piece is a moving poem, at the crossroads between real and surreal, a thin thread between worlds too difficult to define. It exposes the fragile and unconscious universe of personalities, revealing them to be both luminous and devastating.

  • Philippe Meunier (chorégraphe indépendant)

    A bold artist involved with percussive dance for the last 15 years, Philippe Meunier learned his profession while working with a number of Montreal-based folk groups. He joined Les Sortilèges - Danses du Monde in 2002 and then [ZØGMA] Collectif de folklore urbain in 2008. A dancer for the Quebec group Loco Locass, Meunier has also been developing his body percussion skills with Sandy Sylva since 2010. Meunier has performed for many choreographers since 2005, as part of Biennales de Gigue Contemporaine (BIGICO) at Tangente. He has also premiered his own work, namely ¿Qué? in 2007 and Répercussions in 2011.

    • Regard sur le monde
      • O Tahiti E, Tahiti

      • "Raices Del Tec de Monterrey" du Mexique

        Photo: PHilippe Meunier (capture d'écran)
      • Rangpuhar, India

        Photo: PHilippe Meunier (capture d'écran)
      • PHilippe Meunier

        Photo: Mélanie Lafontaine

      Series of 11 videodance clips (length: approx.. 45 seconds each) created to document international dance companies performing at worldwide events (closing ceremonies of Drummondville’s Mondial des cultures festival, annual folk group performances, promotional videos). The creative process consists of reshaping an approximately 5-minute choreographic work; capturing a maximum amount of images with a focus on how the group and performers move; and editing it to portray the delicate cultural pulse of these groups.

  • Mandoline Hybride / Priscilla Guy

    Founded in 2007 by Montreal-based artist Priscilla Guy, Mandoline Hybride explores the body in motion through different medias: Videodances, site specific choreographies, video installations, and multidisciplinary stage performances. Everyday architecture, nature and gestures, as well as choreographic editing are at the center of Priscilla Guy’s creative approach.

    Mandoline Hybride has presented works in more than 15 cities in Quebec and Canada, as well as in the United States, France, and Spain, in addition to several international festivals where Priscilla Guy’s films were screened. Mandoline Hybride has developed a specialized expertize in screendance since 2012, notably through the Regards Hybrides’ platform, cofounded by Priscilla Guy and Claudia Hébert (Toronto, Canada), dedicated to dance on screen and its articulation, development, and influence.

    • Presque
      • Priscilla Guy

        Photo: Priscilla Guy
      • Priscilla Guy

        Photo: Tim Bermingham

      A film about failed gestures and absences that suck up all the space.

      A film about unexpected failures, lost sub-text and opportunities that slip between our fingers.

      When the relationship with the other (and one’s self) becomes a net with too-large holes that let meaning slip away at the exact moment we try to grasp it.

      Presque is a videodance based on processes of accumulation and (re)composition work of the frame, which gives the film its distinct visual mood. Images are fragmented, repeated and superimposed on each other, interrupted and suspended. This project stands on the border between visual art, film and dance, with a kinesthesia that takes on a particular form: a poetic language that redefines the notion of “choreography” on-screen and in direct relation to the editing. The work unfolds in fragments, in a dramatic edit that is still continuous and fluid.