IT’S FIFTEEN MINUTES before curtain, though there is no curtain, so we watch the stage hands going about their business. These behind-the-scenes movements are visible to the audience for the entire production, one of the many unconventional aspects of Dulcinea Langfelder’s latest multidisciplinary work. Dulcinea’s Lament explores the origins of the choreographer/performer’s namesake, Dulcinea de Toboso, the woman Don Quixote pines for with chivalrous intent, though she never appears in the novel which bears his name. A very personal journey using dialogue, music and dance, it is elusive yet unquestionably a pleasure to watch. 

Dulcinea is portrayed in Cervantes’ novel as a near-perfect woman (her names means sweetness in classical Spanish), “…for her hairs are gold, her forehead Elysian fields, her eyebrows rainbows, her eyes suns, her cheeks roses, her lips coral, her teeth pearls, her neck alabaster, her bosom marble, her hands ivory, her fairness snow…” An awful lot to live up to, and yet the other popular perception of Dulcinea is that of prostitute. An all too familiar labeling of women, yet Langfelder is able to use the dynamic to push and pull us into an exploration of love, history and religious attitudes, both ancient and modern. 

She may be searching for the origins of her name, but she’s also philosophizing about life itself; how we came to be, whether there is a God, an all-powerful presence out there somewhere, and if so, could this figure be a woman? Exploring multiple personalities without seeming farcical is not an easy task to accomplish, but she does so skilfully. Monologues on war, men and history predominate and though she could take herself very seriously, lecturing and ranting, she prefers tongue-in-cheek humour, even tangling herself in her own goddess-like robes. 

She mourns for the loss of the goddess figure throughout time; womankind’s reduction from giver-of-life to a mere symbol, even as she makes use of symbolism and hilarious props (balloons for breasts) to drive home the point. Some of the digital effects used could have easily overshadowed the performer, but Langfelder’s powerful presence manages to maintain our gaze. Her singing voice is soothing, the dance sequences are stunning; she moves with incredible grace and fluidity that seems natural and unrehearsed. 

Langfelder has pulled off yet another brilliantly abstract production. There are acts within acts, and rather than being a distraction, it all somehow flows seamlessly. We are drawn into an unusual, captivating world which, even if sometimes opaque on the rational level, is continually mesmerizing. We can’t look away. 

A strong and thoroughly original presence on Montreal stages since she moved her from New York in 1985, Langefelder unveils a new work only every few years, and tours the world with her memorable creations. Her previous show, Victoria, which dealt with aging, memory loss and dying, has been touring since it was created in 1999. Dulcinea’s Lament seems destined for the same success. Catch it now before it leaves town.

Continues through Wednesday November 19 at D.B. Clarke Theatre, 1455 De Maissoneuve West. Admission: (514)790-1245, www.admission.com. For more information: www.dulci-langfelder.org