Photo: Geraldine Perrier-Doron
A first ritual is repeated while each performer comes to detach from broad-leaved mirrors of the great books open on the floor and crosses the space backwards.
Fruit of the encounter between the choreographer iconoclastic Antonija Livingstone and the scenographer Nadia Lauro, studies — (heresies 1-7) rejects the intention of the dramatic action to propose a series of rituals unique to be offered in the softness and slowness, where the sense of touch is heightened. Because the actions carefully on the body of a partner — a performer to the other, and even to a viewer on the other — is the anchor point of this piece meditative.
One enters through small groups in the space, completely covered with a fine carpet and turquoise like in a bubble of tranquility. A calm that will be progressively broken by the sound of clapotements of rain, the sound of a biting wind and roaring of a storm. The performers, all of john dressed in bellbottoms and perched on high heels are already focused on their task. Hang around here and there a row of bells, shells and branches in wicker.
Heresies, slow, contradictions, and snail giant
A first ritual is repeated while each performer comes to detach from broad-leaved mirrors of the great books open on the floor and crosses the space backwards. In a corner, the presence of a shoal of mermaids with head lamps screwed on the front contributes to the strangeness and wonder of atmosphere is installed. These beings chimeric remain throughout all of the witnesses remote, dazzling their lights leaves mirrors. By reverb, glimmering lights dancing on the surface of the soil as the water reflections on the walls of a swimming pool.
These floating mirrors strained at times to the public came to open windows of mirage in the space and distort the reality. The time is diluted, each movement offered by the performers — including several in the physical androgynous — becomes an event in itself. An attempt to get rid of hierarchies appears, with a sensuality in the movements, forehead against forehead, head on knee, hand running through hair. This is then followed by massage the temples and ears delivered with care to the spectators, without the touch becomes invasive.
At the center of a new ritual, a snail, a giant named Winnipeg Monbijou peeling of a face to find its place on the ground and vibrate to the sound of melodies carillonneuses delivered in a trio with the help of the bells, moment of the piece that increases the feeling of osmosis. An osmosis that turns quickly, however, short.
If the two creative reach with the help of their accomplices to create an island of sirens, out of which emerge the mythic figures (statues olympian-in movement), the osmosis that occurs between the performer fails to contaminate completely the public. The piece has no beginning or end marked, we leave this space behind us with the impression of an unsuccessful completion, as if the time had to do even more to increase the interesting material provided in the duration and peak of the sensations touched to a true point of salvation.
Studies — (heresy 1-7)
A creation of Antonija Livingstone and Nadia Lauro. In collaboration with Stephen Thompson and Kennis Hawkins. Artists invited.e.s : Year Thorne, Tobaron Waxman, Winnipeg Monbijou, Nicoletta Brandi, Mich Cota, Malik Nashad Sharpe and guest.e.s. At Montreal, arts interculturels, until 12 march.