American choreographer Trajal Harrell’s work has always been impressive if only for its sheer ambition (his Twenty Looks series currently comprises half a dozen shows), but Judson Church is Ringing in Harlem (Made-to-Measure) is his masterpiece. In the most primal way, he proves that art isn’t a caprice but that it is a matter of survival. Harrell and dancers Thibault Lac and Ondrej Vidlar manifest this need by embodying it to the fullest. The most essential show of this or any other year.
Locally, it was the year of Aurélie Pedron. She kept presenting her resolutely intimate solo ENTRE, a piece for one spectator at a time who – eyes covered – experiences the dance by touching the performer’s body. In the spring, she offered a quiet yet surprisingly moving 10-hour performance in which ten blindfolded youths who struggled with addiction evolved in a closed room. In the fall, she made us discover new spaces by taking over Montreal’s old institute for the deaf and mute, filling its now vacant rooms with a dozen installations that ingeniously blurred the line between performance and the visual arts. Pedron has undeniably found her voice and is on a hot streak.
The most touching show I saw this year, a beautiful portrait of an intergenerational friendship and of the ways age restricts our movement and dance expands it.
wants&needs danse’s The Total Space Party allowed the students of L’École de danse contemporaine to revisit Avant les gens mouraient. It made me regret I hadn’t included it in my best of 2014 list, so I’m making up for it here. Maybe it gained in power by being performed in the middle of a crowd instead of on a stage. Either way, this exploration of Mainstream Hardcore remains the best theatrical transposition of a communal dance I’ve had the chance to see.
I’ve been conscious of the genocide inflicted upon the First Nations for some time, but it hit me like never before at A Tribe Called Red’s show. I realized that, as a 35 year-old Canadian, it was the first time I witnessed First Nations’ (not so) traditional dances live. This makes A Tribe Called Red’s shows all the more important.
Fitz-James gave an introductory lecture on naked ladies in art history while in the nude herself. Before doing so, she took the time to look each audience member in the eye. What followed was a clever, humorous, and touching interweaving of personal and art histories that exposed how nudity is used to conceal just as much as to reveal.
Choreographer Catherine Gaudet and director Jérémie Niel stretched the short duo they had created for a hotel room in La 2e Porte à Gauche’s 2050 Mansfield – Rendez-vous à l’hôtel into a full-length show. What was most impressive was scenographer Max-Otto Fauteux going above and beyond by recreating the hotel room in which the piece originally took place, right down to the functioning shower. The surreal experience of sitting within these four hyper-realistic walls made the performance itself barely matter.