Local Gestures
  • Home
  • Dance
  • Literature
  • Music
  • Cinema
  • Home
  • Dance
  • Literature
  • Music
  • Cinema

Local Gestures

because the personal is cultural

2016 as Dance Memories (Mostly)

5/1/2017

1 Comment

 
Picture
Trajal Harrell & Thibault Lac in Judson Church is Ringing in Harlem (Made-to-Measure), photo by Ian Douglas
1. Judson Church is Ringing in Harlem (Made-to-Measure) / Twenty Looks or Paris is Burning at the Judson Church (M2M), Trajal Harrell + Thibault Lac + Ondrej Vidlar (Festival TransAmériques)
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.
Picture
ENTRE
Picture
La Loba
Picture
INDEEP
2. ENTRE & La Loba (Danse-Cité) & INDEEP, Aurélie Pedron
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.
Picture
Pepper Fajans & David Vaughan in Co.Venture, photo by Stephanie Berger
3. Co.Venture, Brooklyn Touring Outfit (Wildside Festival)
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.
4. Avant les gens mouraient (excerpt), Arthur Harel & (LA)HORDE (Marine Brutti, Jonathan Debrouwer, Céline Signoret) (Festival TransAmériques)
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.
Picture
A Tribe Called Red, photo by Marc-André Mongrain
5. A Tribe Called Red @ Théâtre Corona (I Love Neon, evenko & Greenland Productions)
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.
Picture
Thea Fitz-James in Naked Ladies
6. Naked Ladies, Thea Fitz-James (Festival St-Ambroise Fringe)
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.
Picture
Clara Furey & Francis Ducharme in La très excellente et lamentable tragédie de Roméo et Juliette
7. Max-Otto Fauteux’s scenography for La très excellente et lamentable tragédie de Roméo et Juliette (Usine C)
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.
1 Comment

Ice Age on Ice: a review

26/8/2016

0 Comments

 
Picture
WARNING: spoilers.
​

La crème de la crème of Quebec celebrities (Sébastien Benoit) and their children (Sébastien Benoit’s child) were at the Bell Centre Wednesday for the first of a four-day run of Ice Age on Ice.

The show begins with a squirrel finding an acorn. He buries it in… something and a rocket goes off. Follows a parade of the main characters of Ice Age on Ice: a sloth, a male and a female mammoth, two possums, a cougar, and their monkey friends. Though the dialogue is in French, all the songs are in English, so they sing “It’s your birthday / Happy birthday!” to mister mammoth in a surreal scene, like if one witnessed the 1990 live action Teenage Mutant Ninja Turtles ice skating. (Did they do that yet?) The cougar’s back legs are paralyzed, but luckily they slide easily against the ice. The mammoths are also held up by wheelchairs, so it’s nice that there’s a positive message against ableism.

Comes the triggering factor: the aforementioned acorn stuffing caused a volcano to wake up and it’s threatening to wipe out our heroes’ party with its lava. The sloth recalls a legend about an icy berry that freezes everything it touches, which seems like a rather simplistic solution to global warming. This gets exemplified by a dozen abstracted glittery snowflakes with Mohawks and a bird who spin to show they’re happy about the cold, which lets us know they’re not from Quebec. As the show is aimed at children, it’s not surprising to notice some slapstick, like when the sloth tries to catch a snowflake with its tongue and falls down. Children love to see people fall. Adults do too, but only when it’s not on purpose.

So our heroes decide to go on a hunt for the icy berry in order to throw it in the volcano and freeze it over. The lady mammoth stays home though because that’s where women belong. There is also the inevitable complication in the shape of a female fox who wants the berry for herself because it would allow her to remain frozen in youth because women are vein and don’t care about being burned alive by lava just as long as they look good all the while.

Enters a squirrel who is also female, which we know because she is limp-wristed, waves her arms around a lot and wears makeup, as lady squirrels do. She’s an acorn-digger who needs a male squirrel so he can give her his nuts because she can’t get them herself. Her boobs get in the way. Except that mister squirrel realizes he lost his nut and has a psychotic breakdown in what is by far the highlight of the show. He hallucinates sixteen acorns dancing around him in what can be best described as a psychedelic drug trip.

Then there’s the Zamboni. No, wait… It’s just the mammoth’s big ass! I love fat jokes.

Anyway, they get the frozen berry, the fox tries to steal it but fails by losing it in a hockey match and apologizes for her behaviour. She’s surprised that our heroes would still want to hang out with her, which is understandable because what a sausage party!

But then it turns out that two possums ate the frozen berry. Why our heroes would leave the life-saving berry to animals who were clearly not aware of their plan is beyond me, but it doesn’t matter because it becomes obvious that the berry has no magical powers since the possums don’t turn to ice. Take that, magical-thinking solution to global warming!

That’s when mister mammoth has an idea: what if they caused a snow avalanche that would put out the volcano by jumping up and down? (Does this even make sense scientifically?) He asks his lady what she thinks and she replies that she believes in him because she’s a supportive woman with no opinion of her own. I’ll let you guess how it ends.

The show follows a simplistic structure: plot, figure skating, plot, figure skating, ad nauseam; like if Xavier Dolan was into the Ice Capades instead of slow motion. As with stories in contemporary dance, the two fail to connect in any meaningful way. All we perceive is the poverty of dance as a storytelling medium. Do we really need stories to make us swallow everything, including figure skating? There’s something almost patronizing about it, like Ice Age on Ice is just using characters kids already know and love to shove figure skating down their throat. As Spice World already pointed out back in 1997, it doesn’t matter what happens. Hell, nothing even needs to happen. All we need are those recognizable faces and we’ll eat it up.

Ice Age on Ice did give me a few ideas as to how contemporary dancers could make more money though:
  1. Sell glow sticks to audience members.
  2. Dance on skates. Even better, use hockey sticks and a puck as props.
  3. Sell stuffed animals in their likeness.

August 24-27
www.evenko.ca
1.855.310.2525
Tickets: 29.25-100.50$
0 Comments

    Sylvain Verstricht

    has an MA in Film Studies and works in contemporary dance. His fiction has appeared in Headlight Anthology, Cactus Heart, and Birkensnake.

    s.verstricht [at] gmail [dot] com

    Categories

    All
    2e Porte à Gauche
    Agora De La Danse
    Ame Henderson
    Andrew Tay
    Annabelle Lopez Ochoa
    Anne Le Beau
    Anne Teresa De Keersmaeker
    Anne Thériault
    Ann Van Den Broek
    Antoine Defoort
    Arthur Harel
    Arts Court
    Audrée Juteau
    Aurelie Pedron
    Austria
    Bain Saint-michel
    Belgium
    Benoit Lachambre
    Best Of
    Biennale De Gigue Contemporaine
    Bjm Danse
    Björn Schmelzer
    Boris Charmatz
    Brazil
    Brian Brooks
    Brigitte Haentjens
    Brigitte Poupart
    British Columbia
    Brooklyn Touring Outfit
    Cabaret Du Mile-End
    Caroline Gravel
    Carol Prieur
    Carte Blanche
    Cas Public
    Catalonia
    Catherine Gaudet
    Catherine Tardif
    Cayetano Soto
    Cecilia Bengolea
    Céline Bonnier
    Celine Signoret
    Centaur Theatre
    Chanti Wadge
    Chiara Frigo
    China
    Chris Haring
    Christian Rizzo
    Cindy Van Acker
    Cinema
    Clara Furey
    Compagnie Flak
    Conservatoire
    Dana Gingras
    Dana Michel
    Dance
    Daniel Léveillé
    Danse Carpe Diem
    Danse Cité
    Danse Danse
    Dany Desjardins
    Dave St Pierre
    David Lynch
    David Rancourt
    Deborah Dunn
    Dena Davida
    Dorian Nuskind Oder
    Ecole De Danse Contemporaine
    Elisabeth Kjeldahl Nilsson
    Emmanuel Jouthe
    England
    English
    Erin Flynn
    Estelle Clareton
    Étienne Lepage
    Evelina Dembacke
    Evenko
    Festival TransAmériques
    Finland
    Francais
    France
    Francis Ducharme
    François Chaignaud
    Frederick Gravel
    Fringe
    Gabrielle Marion Rivard
    Gai Behar
    Galerie De L'UQAM
    Geneviève C. Ferron
    George Stamos
    Gerard Reyes
    Germany
    Grand Poney
    Guilherme Botelho
    Guilherme Garrido
    Guilherme Miotto
    Halory Goerger
    Heine Avdal
    Hélène Blackburn
    Hiroaki Umeda
    Holly Bright
    In Jung-ju
    Institutet
    Interviews
    Isabelle Van Grimde
    Israel
    Italy
    Jacinthe Armstrong
    Jaco Van Dormael
    Jacques Poulin Denis
    James Viveiros
    Jamie Wright
    Jana Jevtovic
    Japan
    Jasper Van Lujik
    Jean Sébastien Lourdais
    Jody Hegel
    Jo Fong
    Jonathan Debrouwer
    José Navas
    Julien Desplantez
    Kaori Seki
    Karine Denault
    Katia Marie Germain
    Katie Ward
    Katya Montaignac
    Korea
    Kristel Van Issum
    (LA)HORDE
    La Sala Rossa
    Laurie Anderson
    Leanne Dyer
    Lee Su Jung
    Lemi Ponifasio
    Lia Rodrigues
    Lise Vachon
    Literature
    Louise Lecavalier
    Lucie Bazzo
    Lucie Mongrain
    Lük Fleury
    Maguy Marin
    Mai
    Maïgwenn Desbois
    Maki Morishita
    Manuel Roque
    Marc Boivin
    Margie Gillis
    Maria Kefirova
    Marie Béland
    Marie Brassard
    Marie Chouinard
    Marie Hélène Falcon
    Marilyne St Sauveur
    Marine Brutti
    Markus öhrn
    Marlene Monteiro Freitas
    Marteen Van Der Put
    Martin Messier
    Maryse Damecour
    Mary St-Amand Williamson
    Matija Ferlin
    Mau
    Mauro Bigonzetti
    Meg Stuart
    Mélanie Demers
    Michael Trent
    Michèle Anne De Mey
    Michèle Febvre
    Miguel Gutierrez
    Montréal Arts Interculturels
    Montréal Danse
    Montréal Nouvelles Musiques
    Monument National
    Music
    Nancy Gloutnez
    Natalie Zoey-gauld
    Netherlands
    New Zealand
    Nicolas Cantin
    Norway
    Nova Scotia
    Nya Rampen
    Offta
    Ohad Naharin
    Oh! My Life Movement Theater
    Olivier Arseneault
    Olivier Dubois
    Ontario
    Pamela Poulin
    Park Young-cool
    Patrick Lloyd Brennan
    Pauline Roelants
    Performance Art
    Perrine Valli
    Peter Trosztmer
    Philippe Meunier
    Pierre Lecours
    Pieter Ampe
    Piss In The Pool
    Place Des Arts
    Portugal
    Previews
    Quebec
    Rachel Harris
    Rachid Ouramdane
    Rebecca Halls
    Reviews
    Robyn Orlin
    Sarah Bronsard
    Sarah Chase
    Sarah Dell
    Sarah Williams
    Sasha Kleinplatz
    Shannon Gillen
    Sharon Eyal
    Simon Grenier Poirier
    Société Des Arts Technologiques
    South Africa
    Spain
    Spoken Word
    Stéphane Guignard
    Studio 303
    Susanna Hood
    Sweden
    Switzerland
    Tamara Bacci
    Tangente
    Tao Ye
    Teilo Troncy
    Teita Iwabuchi
    The 605 Collective
    Thea Patterson
    Theatre
    Theatre Jean-Duceppe
    Theatre La Chapelle
    The Choreographers
    Thirst/Clarity
    Trajal Harrell
    T.r.a.s.h.
    United States
    Usine C
    Videos
    Virginie Brunelle
    Visual Arts
    Wales
    Wants&needs Danse
    Wayne Mcgregor
    Wildside Festival
    Yukiko Shinozaki
    Zohar Melinek

    RSS Feed

Proudly powered by Weebly