Marie Chouinard by itself, but otherwise

Marie Chouinard par elle-même, mais autrement

Photo: Sylvie-Ann Paré
The rolling natural between departures for some and arrivals for others enables us to keep the troops on the pitch, the seniority of a room preventing its movement. Hence the broadcast on both nights of the classic that has become “bODY_rEMIX.”

The choreographer Marie Chouinard is no longer present, both on the local scenes and international. The activity of his company is prolific, with an average of five to ten different pieces on tour, a momentum that mobilizes a team of diligent staff, while commanding a logistics extraordinaire and a great adaptability to the dancers in the passage of a piece of choreography to another. This phenomenon of diffusion is rare enough in the middle of the dance so that it queries the choreographer on the concept of directory. Would this become, by the force of things, a will, a mandate unique to the company ?

“I have never sought to perpetuate the directory. It is like that, tells the story of Marie Chouinard. It responds to requests from broadcasters. We have been trained there. It is rare that we can say no. And then, you never know in advance what piece will remain a long time. Here, for example, it is Dance that has chosen these two pieces. “Namely, the now classic bODY_rEMIX / les_vARIATIONS_gOLDBERG and the creation of Radical vitality, solos and duets.

Any creator knows how difficult it is to disseminate projects, and even more sustain. Also, it is a chance to do it, as much for the artist, who maintains a living relationship with his creations and for the public that has the possibility of access to works different on the same period of time, and therefore the work of a work in its entirety. But what is it for dancers ? The concept of a directory, it asks a very specific question in the work : that of the transmission of the works, all the more that there are few dancers that remain 15 years in the same company. How happens then this transmission work ?

As a genetic code

“It’s quite simple,” explains the choreographer. Someone leaves the company and a new person arrives. If the next show, it is the 24 preludes of Chopin, she learns the 24 preludesof Chopin, if it is the Rite, she learns about the Coronation. At the end of two, three years, she knows all the parts. Each person who comes to learn the directory, first group movements during a year, and then, then, we will give him the opportunity to do solos, duos. “In other words, the relay will be done gradually between the different generations of dancers, between the departures of some and the arrivals of others.

This bearing natural helps to keep the troops on the pitch, the seniority of a room preventing its movement. Hence the broadcast on both nights of the classic that has become bODY_rEMIX.

I have the project take a part, for example, Pina Bausch, Balanchine’s or Trisha Brown, and put it in my own way, so do like the theatre directors who take a Shakespeare play and turn it

— Marie Chouinard

 

The learning of the repertoire thus appears as a process of training, training ensuring in turn the longevity of a style. “We do not call it style, but rather an approach, says Marie Chouinard. It is almost an initiation. The approach of the interpretation is body, with the breath, the spine. This is not just learning of movements in dance. These are systems with structures of movements where you have access to a dozen movements in such rhythm, in such a case. It is like a genetic code. Therefore, it requires a labor of learning. “

A living writing

The act of transmission allows the choreographic writing to stay mobile, active, and, in particular, thanks to the multiplicity of interpretations of the dancers, but also to dive back in parts to refine them, clarify them. In sum, a way of revisiting his own work, as proposed by Radical vitality, solos and duo‘s, but this time as the process of creation.

 

Marie Chouinard par elle-même, mais autrement

Photo: Sylvie-Ann Paré
“Radical vitality, solos and duets” agency with an eclectic collection of three short original creations, as well as fragments of works to become autonomous on which the choreographer presents a new look.

“The 25 pieces of Radical vitality are solos and duets from choreography group that I had the desire to go out and give them their place, apart from three new creations, the outputs of the binder, because I keep track of everything in the video. This is the first time really that I do that, to go back to as a reason to explore otherwise. Sometimes, it changes a little bit the choreography, the music, the costume. Back otherwise, revisit. A bit like the painters who are working the same ground for years and years. “A posture of radical such that the assumes the title of the piece. What then motivates the desire to come back literally at the root ?

“I have the project one day to take a room, for example, Pina Bausch, Balanchine’s or Trisha Brown, and put it in my own way, so do like the theatre directors who take a Shakespeare play and turn it. This is something that is inside me, excites me. I told myself that I was going to first do it with myself. I really had fun. It confirms my desire to revisit. Also, I quite like the short pieces. And then it may be connected to the fact that, in recent years, I’ve been working on my book [Zero twelve], released in September. These are things that are very short with a small drawing, that I have worked, reworked, reworked, reworked. There may be a link with that too. And maybe direct the Venice Biennale, inviting pieces become classics, it gave me a taste here and there. “

bODY_rEMIX / les_vARIATIONS_ gOLDBERG // Radical vitality, solos and duets

Choreography : Marie Chouinard. Music : Louis Dufort and Jean-Sébastien Bach. At the théâtre Maisonneuve on January 28 and 29 to 20 h. // Choreography : Marie Chouinard. Music : Louis Dufort, Frédéric Chopin and Carles Santos. At the théâtre Maisonneuve, from 30 January to 1 February to 20 h.

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