Lucy M. May
Gérard Reyes, Mariusz Ostrowski, James Viveiros, Lucy M. May, Lucie Mongrain, Leon Kupferschmid, Carol Prieur
Lucy M. May
Lucy M. May
Mathilde Monnard et Dominique Porte
Carol Prieur, James Viveiros
Lucy M. May, Mariusz Ostrowski
In 1980, Marie Chouinard discovered the book Mouvements by Henri Michaux (1899-1984). In 64 pages of India-ink drawings, a 15-page poem and an afterword, Mouvements presents multiform figures that Marie Chouinard took pleasure in reading literally, left to right and page by page, as a choreographic score. She then proceeded to decrypt the great artist’s drawings and set dance to these "movements of multiple inkjets, a celebration of blots, arms moving up and down the scales.”
The book’s transition to dance has been done “word for word”, for even the poem in the middle of the book, as well as its afterword, are included in the choreography.
The drawings are projected in the background, allowing spectators to do a simultaneous personal reading of the Michaux score. Echoing the visual presentation of a white page with black drawings, performers dressed in black dance on a white floor.
In Marie Chouinard's work, The Rite of Spring occupies a special position. In choosing to reexamine this powerful hymn to life, she has created her first choreography based on a musical score. Igor Stravinsky's. The Rite of Spring explores a New World and marks the entry of dance into modernity. In this avant-garde work, Marie Chuinard again finds an original pulsation that is essential to her movement. Far from contradicting the rhythm of her dance, the cadence and force of the music inspire, accompany and energize her, forming both the echo and the musical counterpoint of an organic, vigourous and vivid choreography.
For Marie Chouinard, all forms are the movement through space of a specific vital energy. Unlike previous choreographers working with Stravinsky's piece, she constructed her Rite around solos, seeking to awaken in strong, clear movements the intimate mystery of each dancer.
" There is no story in my Rite", she explains, "no development, no cause and effect. Only synchronicity. It is as if I were dealing with the very moment after the instant life first appeared. The performance is the unfolding of that moment. I have the feeling that before that moment there was an extraordinary burst of light, a flash of lightning."
1er mondiale au centre des Arts Ottawa, Canada (1993)