Through scenographic

Biais scénographique

Photo: Fre?of?ric Cellars
Bailey Eng will make its way from one sculpture to the other, letting you see only the work of the back, in a posture symbolic of the animal nature.

Since the diffuser Tangent was secured at the Building Wilder – dance Space, after years of nomadic drifting of theatre in the theatre and to see a portion of its budgets to pay for the cost of these rentals rather than the coating of the choreography it presents, the quality of the designs that we see has greatly improved.

It can include : rooms of new building are variable geometry and can easily accommodate various provisions of public lamps for lighting are to hand, the sound is good, the machine to smoke is available. Well, that means. The young designers would be silly, are thought, you don’t enjoy it.

However, this accessibility appears to have two consequences, distinct. On the one hand a contamination of the aesthetic stage between creators different, influenced as it ends up scratching to find demarcations between the atmospheres of an evening to another.

Then, the parts of which the “finishing stage” is much, much more polished than the heart of the matter — choreography and/or work of the body. Which creates door-to-fake-recurring between the shape (solid) and background (low), on works yet independent, but that one ends, by the effect of repetition of the problem, to associate with each other.

The dual program of this week is a new example. Look of Bailey Eng and Breach of Alexandre Morin to adopt, to different degrees, of what appears to be a school.

On the dance pad, white, small sculptures/installations are scattered here and there, covered with tulle and fabrics.

The public moved in the arc of a circle around the central space, where you can just see in these forms an animal head with horns, a mushroom-table, briquettes or bars of soap, go figure… The initial image of the piece is surprising : a body bathed in red light, curled up and throbbing like a heart, appears near the ceiling. It is that the choreographer and performer Bailey Eng is folded at the top of a chinese pole. Hat for the surprise.

This will, however, be the only of the short piece Look. If the dancer operates the mast unusual manner, more somatic than what we usually see, with a real heaviness, and a body that does not seek sensationalism, the feeling remains superficial, the continuity of the gesture account of snags, and this segment is long, eventually exhausting himself. This continuity will rethink this issue, simple and effective, that Fred Gravel had signed up for the Dances, $ 10 for the second door to The left, where a stripper, head down, descended gently to the chinese pole that is also the “pole” of the trimmers.

Ms. Eng continues his exploration on the floor of the cows, in a four-legged to legs outstretched in front of (the good old Dog head at the bottom of the yogis…), a position that hides his face and makes the empathy of the viewer more difficult to win. It will make its way from one sculpture to the other, letting you see only the work of the back, in a posture symbolic of the animal nature. But without the essence : the work is more muscular than sensory or energy — it is seen among others in the legs, taken in an extension that leaves the need to filter or sensation or sensitivity to work as the space is not used. A proposal of choreographic low.

Between the two

It is between the two that speaks of the septet Breach of Alexandre Morin. Bounty and snags of the research a breath is common in a group of invisible ties that can bind, in a timing magic, of a moving body. The room the dictates and demonstrates it clearly — the choreographer has a evident concern of the construction, even if it sometimes confuses the rhythm and the evolution of drama, but it is made by bodies which do not engage fully in the experience — and this, for all of the cast, without exception — ; bodies which solidify in the form, rather than in the mainstream small apnea ; interrupting or rushing the transitions while in this type of discourse, it is there, really, that all plays out.

The subject also makes a great detour by the world of waterparks to Marineland, and we still wonder why, if not out of a desire to impose, to force, a second degree. The piece is very thought. Is it smart ? Not as long as the incarnation is not more profound. While breathing is one of the essential materials of the choreography, the lungs of the dancers are, for example, enabled more like pumps than as living organs ; they remain disconnected from the impact of these hyperventilations or those long deductions.

The musician Jonathan Goulet will deliver, by the end of the course, an emotional soundtrack live. But again, and since the beginning, his body — even knowing that it is the body of the musician among the dancers — is disconnected, tense ; the abandonment and the true weight is absent. In a few short places, like a flash, the intent of the choreography crystallizes (in the microcercles of the vertebral column ; the senior grand capsizing of the whole group in a same direction). It is little, especially in light of the ambitious way to the present.

In these two choreographies, lights and sounds are very processed, the accessories needed without seem necessary to the subject. And in both cases, the body work is not at the height of the box designed to enhance. Outgoing Tangent, we wonder who has a bias theatrical in his reading. Is this the criticism, which seems to be becoming more demanding to the choreography to the shell shiny and the heart low ? Is this a new school of artists who attarderait more like the stage that the spine of choreography ? The question is raised.

Look

Choreography and Bailey Eng. “Breach”, a choreography by and with Alexandre Morin, Jonathan Goulet, Ivanie Aubin-Malo, Noémie Dufour-Campeau, Chloe Ouellet-Pay and Simon Renaud. A presentation of Tangente, the Building dance, the Wilder, until 10 march.

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