Borrowing heavily from a classic Italian neo-realist film, ICKamasterdam bring contemporary dance into the boxing ring.
French choreographer Christian Rizzo has hybridized dances from across cultures to forge a vernacular that is at once singular, universal, and thoroughly contemporary.
At this year’s OFFTA, Montreal-based artists Gabriel Plante and Benjamin Kamino offered two sharply contrasting and incisive explorations of performative space.
Fabien Maltais-Bayda chats with New York choreographer Trajal Harrell ahead of his daringly imaginative work Antigone Sr., presented at this year’s Festival TransAmériques.
Daniel Léveillé has thrown lycra onto his dancers, yet in its sparseness, the choreography is more exposing than nudity could ever be.
Geneviève Metson plays with phosphorus in the lab and has learnt its story. She will tell it at Place Bonaventure on Saturday with an interactive dance performance.
Founded in 2011 by the phenomenally talented Emily Gualtieri and David Albert-Toth, the bilingual young company Parts+Labour_Danse premiered their outstanding new creation, In Mixed Company, at the Monument-National, preceded by a reprise of the solo performance La Chute.
If you can still get tickets for Circa’s new show S at Théâtre du Nouveau Monde, I suggest you do so. Part of Montréal Completement Cirque, this performance was jam-packed with style, charm and humour; interesting enough for the aficionado, accessible enough for the neophyte. I was quite smitten with this Australian troupe and I’m going to tell you several reasons why.
Piss in the Pool (a co-production of Wants&Needs Dance and Studio 303) has become a staple of Montréal’s summertime dance scene. Now in its 9th year,…
Louise Lecavalier is rad. While most 54 year old women spent last Thursday night with Netflix and a bottle of red (not judging – that sounds great to me too), Lecavalier was dancing her guts out to a packed Théâtre Maisonneuve audience of 1,453 who responded in kind with a unanimous standing ovation. It was the final show of this year’s Festival TransAmériques, and it went out with a bang.
Montréal choreographer Ginette Laurin’s offering to Festival TransAmérique this year is an intricate “microsociety” in which endless dynamics are played out: love triangles, siblings, friends, partners, and enemies. Created in Madrid in 2012 and subsequently presented in Paris, Khaos is billed as “a subtle marriage of movement, sound, lighting and digital technology.”
Do you remember singing Frere Jacques or Row Your Boat at school, when your teacher would make you sing it in rounds? First one group would start singing, then another group would join in the existing voices but sing the song from the beginning. The end result was a satisfying melange of notes and voices all over the place and yet all performing the same function. Levée des Conflits was the contemporary dance version of that.
Are you up-to-date with current affairs in Rwanda? Do you wear yoga pants outside of the studio? Circulate online human rights petitions on the regular? Do you, perchance, like to partake in a Tam Tam drumming circle on Sundays? If you answered two or more of these questions in the affirmative, I saw a show last night that I think you’ll like.
100 years ago this week, the Ballet Russes premiered Rite of Spring in Paris and an instant classic was born. It was fresh and new, edgy and alive. It sparked a riot, so they say. At least one person was challenged to a duel. A duel, for Pete’s sake! That’s badass.
Samoan New Zealander Lemi Ponifasio and his company MAU have just returned to Montreal to perform at Festival Transamerique. The piece, Birds with Skymirrors, appeared in Santiago, Sydney and Ottawa before coming here. Lauded by the international press as “extraordinary” (The Guardian) and “surreal” (The National Business Review), the company is known for beautiful and disquieting work. An ex-pat New Zealander myself, I asked Ponifasio a few questions about politics, the environment, exoticism and the South Pacific.