Dance

PROGRAMMATION

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Blue light

Blue Light bears witness to the imprint of the phenomenon of technology and blue light on our bodies and on our lives. How does it transform us and modify our relationships with others? This is what inspires this choreographic staging project signed by Amélie Duguay.

Do we not remain trapped in the illusion of the artificial feeling of a reality always controlled and oppressed by an over-technological universe like a kind of shaken humanity?

Amélie Duguay and Théâtre du Trillium

Théâtre du Trillium

Hosted by Théâtre du Trillium

Director / choreographer: Amélie Duguay

Lighting design: Tristan-Olivier Breiding

Sound design: Lola Mael

Production manager : Laurent Forget 

Distribution : Calista Caron, Alec Charbonneau, Meggie Cloutier, Aude Mathieu, Sophie McPhail 

60 minutes

Post-show discussion on May 10, 2024.

PROGRAMMATION

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DARKMATTER

Body, can you become (be) a hypothesis, a galaxy in full acceleration, a monstrous liquid star that cannot die?

In the duo DARKMATTER, Cherish Menzo and her partner Camilo Mejia Cortés seek, with the help of a Distorted Rap Choir, ways to detach their bodies from the daily reality of this imposed perception in which they operate.

For DARKMATTER, Menzo draws his inspiration from post-humanism, which aims to transcend corporeality. She also examines Afrofuturism, which means considering science fiction, technology, fantasy, etc. from an African or black point of view. The human form becomes something achievable that allows us to dream. Menzo also weaves a poetic layer inspired by astronomy. She is interested, among other things, in dark matter and black holes which meet and collide to create a new futuristic and enigmatic body.

DARKMATTER wants to wipe away this preconceived way of looking at our own body, the body of others and the stories we attribute to them. Menzo throws herself body and soul into the fray, which gives rise to a complex conversation that she wants to be both engaged and overcome. It is this duality that DARKMATTER helps to fuel.

As in JEZEBEL, she extends her gestural vocabulary by integrating techniques from hip-hop music. She thus applies the Chopped and Screwed method to her movements, a process which considerably slows down the tempo of the music. By stretching the notions of time, the register changes and the performing body emerges.

 WARNINGS :

Strobe lights, smoke, loud noises, complete darkness, nudity.

Earplugs available for sensitive ears.

Cherish Menzo

PRODUCTION : GRIP, Frascati Producties

COPRODUCTION : Kunstenfestivaldesarts (Bruxelles, BE), CCN-Ballet national de Marseille in the context of l’accueil studio / Ministère de la Culture (FR), actoral festival (Marseille, FR), STUK (Louvain, BE), La Villette (Paris, FR), Festival d’Automne à Paris (FR), Beursschouwburg (Bruxelles, BE), Perpodium (BE)

Théâtre du Trillium.

PREMIER : mai 12-15 2022, Beursschouwburg/Kunstenfestivaldesarts Bruxelles (BE)

CONCEPT ET CHOREOGRAPHY : Cherish Menzo

CREATION AND PERFORMANCE : Camilo Mejía Cortés et Cherish Menzo

LIGHTING CONCEPTION : Niels Runderkamp

MUSIC COMPOSITION : Gagi Petrovic and Michael Nunes

MIX : Gagi Petrovic

COSTUME DESIGNER : JustTatty.com

SCÉNOGRAPHY : Morgana Machado Marques

DRAMATURGY : Renée Copraij

STAGE PRODUCTION : Pauline Van Nuffel

SINGING COACH : Daniël Bonsu et Shari Kok-Sey-Tjong

ARTISTIC COACH : Benjamin Kahn, Christian Yav and Nicole Geertruida

VOIX DISTORTED RAP CHOIR via www.distortedrapchoir.com

WITH REFERENCES TO :

Act I of the American opera “Troubled Island” by William Grant Still (1949)

‘BLACKSPACE: ON THE POETICS OF AN AFROFUTURE’

‘The Mask’ de Paul Laurens Dunbar 

Choreography from Missy Elliot’s video clips: ‘Throw it back’ (2019). (If you are the choreographer or rights holder, please contact GRIP, so we can credit you correctly.)

The Mythology of the American electronic music duo Drexciya

RESIDENCES: STUK (Louvain, BE), La Villette (Paris, FR), Frascati (Amsterdam, NL), Beursschouwburg (Brussels, BE), CCN-Ballet national de Marseille as part of the studio reception / Ministry of Culture (FR)

IN COLLABORATION WITH: Trill (Leuven, BE), WijzijnDOX (Utrecht, NL), De Coproducers (NL)

FINANCIAL SUPPORT: Flemish government, The Performing Arts Fund NL, the federal tax shelter of the Belgian government and Cronos Invest

Strobe lights, smoke, loud noises, complete darkness, nudity.

Earplugs available for sensitive ears.

After show discussion on the February 16 2024.

Crédit : Bas de Brouwer

PROGRAMMATION

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Yassama et la calebasse aux cauris (Yassama and the Cowrie Shell)

The well in young Yassama’s village is drying up. Every day, she must travel further to fetch water. She’s worried about the future of her family: will she be able to save her community from the drought that threatens them? An old Baobab tree and a mysterious calabash help Yassama learn the limits of the nature that feeds her.

At the crossroads of African oral tradition, theatre, and dance, this show offers young audiences praise of perseverance and humility in the form of a timeless ecological tale.

For 3 to 6 year olds.

Writting : Lua Shayenne

Director : Karine Ricard

Shayenne Productions, WeeFestival and Théâtre français de Toronto

A joint hosting of Vox Théâtre and Théâtre de la Vieille 17 for Le Tout Petit Festival

Productor, writting and play : Lua Shayenne

Music : Cécé Haba

Director : Karine Ricard

Dramaturgy and pedagogical advice : Lynda Hill

Dramaturgical advice : Djennie Laguerre 

Costumes : Rachel Forbes

Backdrop design : Quentin VerCetty

Lighting : Logan Raju Cracknell

Scene management : Kimberly Moriera

Dressmaker : Carlyn Rahusaar Routledge

Stage manager : Joey Lau

45 minutes

June 1 at 12:30pm and June 2 at 10am and 12:30pm. For information or reservation : Vox Théâtre 613-241-1090, poste 235 or enfance@nouvellescene.com

PROGRAMMATION

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Confession publique (Public Confession)

With its title as a promise, Confession publique (Public Confession) explores ambiguity and paradoxes, examines the noble and the vulgar, oscillates between grace and brutality.

Choreographer Mélanie Demers makes faithful collaborator Angélique Willkie her muse. Two creative soulmates explore together the act of telling their story without modesty. The result is a punchy solo, where anecdotes become painful secrets and where the body reveals as much, if not more, than words. The trust that emerges from the encounter between these two artists allows for a total unveiling, a courageous exposure. On the stage, Willkie, the raw material of the show, cannot escape our gaze. Next to her, an enigmatic presence, sometimes devoted, sometimes hostile, manipulates the space and organizes it. With powerful voice and bewitching presence, the performer delivers the beauty and the depths of her soul with strength and fragility.

Mélanie Demers & Angélique Willkie

MAYDAY

Théâtre du Trillium

Ideation and choreography : Mélanie Demers

Interpretation : Angélique Willkie with the participation of Anne-Marie Jourdenais

Rehearsal director : Anne-Marie Jourdenais

Dramaturgy : Angelique Willkie

Original music : Frannie Holder

Additional music : excerpt from The Fairy Queen, composed by Henry Purcell and sung by Angélique Willkie

Scenography : Odile Gamache

Lighting : Claire Seyller

Costumes : Elen Ewing

Technical Direction : Hannah Kirby

Production manager : Mélanie Primeau

Acknowledgments : Éléonore Loiselle

Production and editing of the recording : Sandrick Mathurin

Teaser production : Stefan Verna

1h15min

PROGRAMMATION

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Rather a ditch

La Nouvelle Scène Gilles Desjardins has elected to continue to require enhanced proof of vaccination for visitors until at least March 31, 2022. This decision will be reviewed in the coming weeks. We will also maintain physical distancing between groups in our spaces until further notice. More info.

A sensory, visceral, and existential solo echoing the silence of a deep solitude. This moving performance brings together Céline Bonnier, Caroline Monnet, and Clara Furey.

“To die… to go into the darkness… if it is darkness… to go to the river… if it is a river… but alone and without the illusion of love… naked and disastrously free…” – Howard Barker

Echoing Steve Reich’s hypnotic Different Trains, which questions the duality and fragility of our destinies, Clara Furey responded to Olivier Bertrand’s invitation for the first Montreal edition of the ALBUM Project and created Rather a Ditch, a piece in which several “existential dance experiments” explore the porosity between life and death.

The choreographer offers here a hypnotic work that plunges the spectator into the heart of absence. Céline Bonnier slides from one state to another, exploring interior landscapes and finding radiance in enveloping darkness. Seemingly absent from herself, sinking into her inner soul, and playing with radical disembodiment, the actress, a long-time accomplice of Clara Furey, lands herself once more in the performance game. An entity in its own right, the wall of imposing fragility imagined by Caroline Monnet vibrates with us throughout the piece, dialoguing with Karine Gauthier’s precise and enigmatic lighting and revealing questions about what is past and what remains, still, terribly present.

This show is presented in conjunction with Dog Rising !

Clara Furey

Parbleux

Théâtre du Trillium

Original idea Olivier Bertrand
Conception and artistic direction Clara Furey
Co-creation and performance Céline Bonnier
Sonic conception Jean-François Blouin
Sonic research Ida Toninato
Set design Caroline Monnet
Lighting design and technical direction on tour Karine Gauthier
Costume design Michèle Hamel
Outside eyes Andrew Tay, Christopher Willes
Lighting design assistance Tim Rodrigues
Technical direction during the creation Maude Bernier
Distribution A Propic | Line Rousseau & Marion Gauvent

Production Clara Furey
Executive production by Parbleux

Partners and creation support Centro per la Scena Contemporanea (CSC) de Bassano del Grappa (Italie/Italy), Danse à la Carte (Montréal, Canada), La Chapelle – Scènes Contemporaines (Montréal, Canada), Parbleux (Montréal, Canada)

Co-production Festival TransAmériques (Montréal, Canada), La Chapelle Scènes Contemporaines

The creation of this work was made possible thanks to the financial support of Conseil des Arts du Canada et du Conseil des Arts et des Lettres du Québec

PROGRAMMATION

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Singeries

Two women try to remain true to themselves. Stuck in the centre of a video fresco, where their reflections multiply, morph, and shatter, they compulsively sing and replay themselves in order not to disintegrate. However, their hopes remain poorly anchored to their destiny: they are constantly behind or ahead of themselves, never in true sync with their innermost souls. From one moment to the next, female presences come to their rescue (Marguerite Duras, Chantal Akerman, Martha Rosler, Amy Greenfield, Maya Deren, Lygia Clark), but their rumour ends far and wide. Let’s call it an imposter — a sham.

Written correspondence, video and sound sampling, quotation, improvisation, rest, and repeated singing were at the heart of this creative process.

SINGERIES is the continuation of the friendship between Catherine Levoie-Marcus and Priscilla Guy, a meeting that has neither succeeded nor failed, but which is constantly renewed. The two are riveted to each other, sometimes without really knowing why, in an incessant — and yet reluctant — dialogue.

This show is presented in conjunction with Les employés !

Priscilla Guy, Catherine Lavoie-Marcus

Mandoline Hybride

Co-hosted by Théâtre Catapulte and Théâtre du Trillium

Artistic direction, choreography, and performance Catherine Lavoie-Marcus + Priscilla Guy
Sound creation Michel F Côté
Projection, mapping, and video effects Antoine Quirion Couture
Lighting design Paul Chambers
Set design Julie Vallée-Léger
Costumes Marie-Christine Quenneville
External view Samuel Thériault
Regard extérieur Marie Claire Forté

Photos Svetla Atanasova

With the support of Conseil des arts et des lettres du Québec (CALQ) + Conseil des arts de Montréal (CAM) + Conseil des arts du Canada (CAC)

Residences Usine C, Montréal (2016) + Agora de la danse, Montréal (2015) + L’Animal a l’Esquena, Espagne (2015) + Circuit-Est centre chorégraphique, Montréal (2014) + Centre des arts actuels Skol, Montréal (2014)

1H