Lorganisme reinforces the activity of choreographers, bringing them together and encouraging them to deepen their respective artistic approaches through the benefits of sharing their creative, human, and material resources. By its strong structuring effect, Lorganisme is both a guiding light and an anchor for its artist members, boosting both the resonance and the sustainability of their work.
Lorganisme is propelled by a structure composed of several artist members who each maintain their individual artistic identity. Lorganisme is an innovative model founded on the strength that lies in the group. Its artist members vigorously affirm the values of sharing, reflection and dialogue as elements that optimize and sustain artists’ actions in their milieus.
Lorganisme provides its artist members with shared resources in the areas of administration, production, communications, and development, as well as a space for artistic reflection and exchange. In a spirit of openness and in the interest of sharing with the artistic community, the artist members of Lorganisme give a multidisciplinary workshop every summer.
Lorganisme was created in 2010 by Caroline Laurin-Beaucage, Catherine Gaudet, Anne Thériault, Amélie Rajotte, and Sara Hanley. Since then, its artist members have carried out numerous research and creation endeavours and have given 130 performances of their works in Quebec, the rest of Canada, and abroad. Attesting to the innovative character of its model, in 2015, Lorganisme was awarded the Prix de la Relève by the Caisse de la Culture and the Conseil des arts de Montréal.
Dany Desjardins; Caroline Gravel
Dany Desjardins et Caroline Gravel
Je suis un autre is built around the contradiction between what we believe in or who we want to be and our instincts. A sidelong glance, a modest blush, a damp, trembling hand… A physical manifestation of an inner vulnerability that betrays a self of sense that is out of step, conditioned and domesticated, that reveals our deepest impulses. Je suis un autre starts with the feelings of imprisonment provoked by conventions and seeks to renew the multiple and ambiguous aspects of the self that beat beneath the surface.
Diplômée du baccalauréat en danse contemporaine de l’Université Concordia depuis 2002, je travaille à Montréal en tant que chorégraphe et programmatrice/productrice. Mes chorégraphies testent les limites et les dynamiques des relations interpersonnelles à travers un vocabulaire du mouvement inspiré par le jeu. Mon processus se démarque d’ailleurs par l’importance accordée au jeu, jouant à la fois avec des perspectives physiques et psychologiques. En tant que codirectrice artistique de la compagnie Wants&Needs Danse aux côtés d’Andrew Tay, je crée des œuvres chorégraphiques et des événements innovateurs qui attirent et cultivent de nouveaux publics en danse contemporaine. Nos événements Short&Sweet, Piss in the Pool et Involved ont présenté les œuvres de plus de 70 chorégraphes et performeurs au cours des 7 dernières années. La mission de ces productions annuelles et biannuelles est de créer de nouvelles connexions entre les cultures anglophones et francophones ainsi que les artistes émergents et établis de la communauté de la danse montréalaise dans des contextes performatifs inhabituels et non conventionnels.
Milan Panet-Gigon, Nathan Yaffé, Benjamin Kamino, Radwan Moumneh.
Chorus II, an all-male sextet, is inspired by my childhood memory of watching my grandfather pray before dinner. I didn't speak or read Hebrew, but I remember feeling a deep sense of meaningfulness in the tone of my grandfather's words, the rise and fall of his voice and the slight swaying of his body as he spoke. This swaying movement performed during Jewish prayer is called davening, and can be traced back to the Talmud (the Hebrew bible). I have been inspired by this idea of movement as an integral part of prayer; movement that becomes religious in context, and in so being, seeks a connection to a greater power.
Although my grandfather’s rituals have been a source of curiosity and inspiration, I am estranged from the Jewish side of my family. In part, Chorus II is a way for me to explore my heritage on my own terms.
In parallel to his career as a performer for leading Quebec choreographers (Marie Chouinard, Sylvain Émard, Daniel Léveillé, etc.), Manuel Roque independently developed short choreographic forms. His first solo, RAW-me (2010), distinguished itself at Festival Vue sur la Relève and at the OFFTA. In 2012, he co-created with performer Lucie Vigneault the duo Ne meurs pas tout de suite, on nous regarde. He then, in 2014, created In Situ, presented at Espace Culturel Georges-Émile-Lapalme of Place des Arts. The same year, Manuel Roque created a solo that drew its inspiration from the mutations of matter. First presented at Usine C, Data was then performed in 2015 at Festival TransAmériques (FTA) and in many other cities around the world. Manuel Roque was invited to participate in Migrant Bodies, a research project initiated by Canadian and European partners, in the context of which he created Matière Noire (2015). Other creations followed: Aurora (2015) developed for the graduating class of École de danse contemporaine de Montréal; 4-OR (2015), presented at Tangente; and his most recent solo, bang bang, presented in 2017 at Les Subsistances (Lyon), FTA and Festival June Events (Paris). He won the Prix du Conseil des arts et des lettres du Québec (CALQ) pour la meilleure oeuvre chorégraphique of the 2016-2017 season as well as the Prix de la danse de Montréal, Performer category (2017) for this latest work. His creative universe focuses on the contemporary languages breeding, on the meeting of a kinesthesic virtuosity and the research of an upstanding presence. Revolving around the notion of contemporary human condition, his work aims to open consciousness and to propose sensible, poetic and genuine artistic propositions. Manuel Roque is an associate creator to DLD - Daniel Léveillé Danse and a member of Circuit-Est centre chorégraphique.
Lucie Vigneault; Manuel Roque.
A post-apocalyptic erzatz Adam and Eve, L and M are quite possibly the last people on earth.
But none of that matters.
Together, they navigate the void, reinvent chaos and constantly flirt with a kinetic existentialism.
Exploring the increasing wave of information that’s assaulting our synapses,Ne meurs pas tout de suite, on nous regarde shines a light on the way humans interact with the environment. It touches on sensitivity, impulsive reactions, the underlying absurdity of our modern society… and the inner child that lives inside us all.
Établie à Montréal depuis 2006, MANDALA SITÙ est une compagnie de création et de production dédiée à l’interprétation de la danse contemporaine née de l’urgence de danser de sa directrice artistique, Marie-Gabrielle Ménard.
MANDALA SITÙ a pour mission de promouvoir le talent et la polyvalence exceptionnelle de ses interprètes en créant et produisant des spectacles hybrides de danse contemporaine, articulés autour de la thématique du Féminin.
La compagnie se définit comme étant un carré de sable destiné à des chorégraphes audacieux qui désirent explorer une piste artistique en marge de la démarche chorégraphique pour laquelle ils sont renommés. Depuis la fondation de MANDALA SITÙ, les interprètes ont eu l’occasion de travailler avec les chorégraphes Marie-Pascale Bélanger (L’Oeil du Pigeon, 2006), Dave St-Pierre (Warning, 2008), Manon Oligny (Tartarei, 2011), Louis-Martin Charest, Pierre Lecours, Normand Marcy, Brice Noeser, David Rancourt (Bijoux, 2012 et Quartex 2012) et présentement Virginie Brunelle (Monsieur, 2014).
MANDALA SITÙ a su se positionner sur le territoire de la danse québécoise grâce à sa structure de fonctionnement atypique, au talent de ses interprètes, au dynamisme des spectacles qu’elle initie et au rapport interactif qu’elle entretient avec le public. La compagnie est également reconnue pour l’extravagance des décors et des costumes qui enveloppent chacune de ses productions.
Marie-Gabrielle Ménard, Karina Iraola, Émilie Gratton
Karina Iraola, Émilie Gratton
Created in Montreal and Quebec City during the summer of 2012, Quartex is the fifth choreography by the unclassifiable contemporary dance company, MANDALA SITÙ, which is offering a wild voyage into an eclectic world that will charm audiences with the physicality of the performance and the masterful execution of its multi-talented performers. The work, created by four artists with very different visions, invites the audience to dive into an enigmatic universe featuring tableaux with one, two, three or four enigmatic female dancers.
Set against a low-key décor highlighted by a very graphic lighting design by Anne-Marie Rodrique-Lecours, dancers Marie-Gabrielle Ménard, Geneviève Bolla, Émilie Gratton and Karina Iraola perform with gestures that are sometimes brutal, sometimes sensual, playful or tormented. Four short tales crafted by four unique artists.
TOMOMI MORIMOTO came to Montreal from Tokyo in 2004, and in that time, she has made numerous appearances in dance, film and theatre productions as a dancer, performer and choreographer. Her artistic practice is influenced by an interest in the convergence of Eastern and Western approaches to movement and aesthetics. She draws on her training in ballet, figure skating, physical theatre and contemporary dance, and blends these with elements inspired by butoh, to create her own unique language that is intricate, primal and highly physical. Her recent works include Inhabitation (2012, CanAsian International Dance Festival), Threshold (2011, MAI), Notes de chevet (2010, Festival Transatlantique) and Manège de l’utérus hanté (2009, Tangente).
In Threshold, we are invited to experience the world of Tomomi Morimoto as she blends her vision of contemporary dance with elements inspired by two powerful physical traditions, butoh (Japanese performance art) and wushu (Chinese martial art). Accompanied by renowned musician Komodo, the performers test the limits of their world and allow us to look past the threshold and witness their most primitive and private selves. Passionate, primal and highly physical, Threshold exposes the raw human energy that is at the root of all things, and the potential it has to bind us.</þ>
This 50-minute piece premiered at the MAI in March 2011. In 2012, a 35-minute version (without the martial arts performer) was presented at the festival Vue sur la rèleve in Montreal, and at the festival FIAAEQ in Mexico. (Two versions available: 35 mins and 50 mins)