When the stage becomes a landscape

Quand la scène se transforme en paysage

Photo: Marie-France Coallier The Duty
The visual arts and literature have become engines of work for the choreographer Louise Bédard.

We are in the year 2020. The choreographer Louise Bédard celebrates the thirty years of his company and his new creation is called Promises. As if there needed to be a happy equation, a kind of magical calculation, calling for the sweet return of our hopes, our promises of yesteryear. What, therefore, refers this title ? The choreographer has had to make promises to perpetuate his creative act and his company ?

“The word ‘promise’, I took it in a very broad sense, responds, Louise Bédard. I was looking for a title that calls the brightness. When it appeared, it held up the next day, then the day after, and then I said to myself that it was open, that it left a lot of permeability. “Make promises, we do it all, we hear it very often, even in politics ! continues the choreographer. “Like any artist, it was full of doubts, we want to let go of everything, we wonder what we are doing here. It is crossed by all its waves. When I founded the company 30 years ago, I didn’t know if that was going to last, how I was going to deploy there for the creation, of the imagination. If there is a promise that I had to do, and that is try to go where I want to go, not knowing what the dance was going to bring me or what I was going to bring to the dance. The time passes very quickly. I said that I do not lâcherais not the piece before the 30 years of the company. “

To continue as an artist always poses the question of what’s going to feed or trigger the next project. There are many ways to give birth to a work, many ways to follow an artistic path. Some will dig the repetition of the same pattern, other démultiplieront approaches and collaborators. At Louise Bédard, a part of this impulse has its source in his taste for the visual arts and literature, which have become engines of job.

“I started from a text that [the professor, critic and essayist] Guylaine Massoutre I was dedicated because she wrote thinking of me, of what I’ve inspired. It gave me a lot order to dance and are very familiar with my work. When I read the text, which I found very beautiful, I wrote him a quick note telling him that I would like to do a duet for a man and woman is inspired of it. It was very clear that this would be a Marie Claire Forté and Nicolas Patry. “

How does one then the text at the gesture, duet to a piece for six dancers ? Mention from the outset the idea of a duet for a man and a woman from the words can contain conveniently in the representation of a couple in a certain narrativity. The choreographer clearly specifies that this is not there are his interest, if not on the side of abstraction and the relationship that fascinates her just as much as the non-relationship. Because of the words call up images that call desires and open outlook, there will be three duos, other texts and paintings as well as media.

Some words of the text of Guylaine Massoutre are so persistent in the choreographer that they will trigger the second duo consisting of Sebastien Provencher and Marilyn Daoust. As for the third, composed of Alejandro de Leon and Louis-Elyan Martin, it’s The red and the black by Stendhal, which has opened the minds of Louise Bédard’s romance, as well as some of the paintings of Caspar David Friedrich depicting two men back in the face of the immensity of nature, it had put in dialogue with paintings of icebergs and sea in shades of turquoise of the contemporary Gerhard Richter.

“We worked on the duets separately. What I found crazy and that I was destabilized, is that the one did not influence the other. I thought I would easily find the link with the part of the group, but it only happened in December, when we had two days to work all together. “

However, the choreographer is not his first piece of group, which is for six dancers, for precisely the coexistence of duets. “I was looking for something else. They do not live together still all the time. I tried to create a landscape with these people. I’m interested in that moment where you see the landscape, whether it is concrete or abstract. Because there are also really a landscape that you built, with the help of a small model. In these different landscapes, I positioned the body that dance and stillness. For me, this is very important. It really comes from my fascination for photography. I wanted, specifically, in this work, to make this junction between stillness and movement. “

Model and games of scale, immobility and movement, landscape and snapshot, a vocabulary and tools specific to the photographic process that make Promises a revealing, in the same way that the picture appears on the photo paper out of the darkroom. And that reveals this piece on the creation, and, more broadly ? “We don’t do a single piece. It is not said enough. The contribution of all the world is immense. Yes, I identify with this work, but it is a work with all the world, it is brings all of something. I tip my hat, because sometimes I wonder how they do it, to follow me ! “

Promises

Choreography : Louise Bédard. Original Composition : Diane Labrosse. Lighting : Julien Brown. From 5 to 7 February to 19 h, 8 February to 16 h and 20 h. At the Agora de la danse.

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