Photo: Marie-France Coallier The Duty
Only among a desert of rice noodles in the artwork “Blue” by Jean-Sébastien Lourdais, with the dancer Sophie Corriveau immerses itself in the component from the contact with this material a priori down-to-earth.
To the performer, performer, designer, teacher and artistic advisor, Sophie Corriveau is described as an amalgam of all these roles. “I am a choreographer without having the title,” says one who has long danced for well known figures from here (Jean-Pierre Perreault, Louise Bédard, Danièle Desnoyers, Daniel Léveillé), and was the first performer to benefit from a creation residency at Agora de la danse. The dancer-creative — who is said to have developed with age a certain resistance to the labels — is at the heart of two creations of this Festival TransAmériques (FTA).
Both in Blue,of Jean-Sébastien Lourdais, choreographer of the states of body, as in Fluid Grounds, the result of its connivance with the iconoclast Benoît Lachambre, Sophie Corriveau embraces the approaches somatic movement to create a dance of the” hyperarousal of the senses ” where the body dialogue, fills, and blends in materials that are made on stage. “Over the course of my career, I’ve gradually detached from a vision of the body spectacular. Approaches to somatic allow a mode of communicating which is not just focused on the feats of the dancing body, but on the transmission of meaning through the sensations. “
“It is as if one took the inside of the body and returning the skin,” she continues. I love to imagine the body as a kind of measuring instrument between the other and self, between space and self, to put before anything that is beyond its visible boundaries. “
A desert of noodles
Photo: Marie-France Coallier The Duty
Sophie Corriveau embraces the approaches somatic movement to create a dance of the”hyperarousal of the senses” where the body dialogue, fills, and blends in materials that are made on stage.
Only among a desert of rice noodles in the work of Lourdes, the dancer plunges into it’s component from the contact with this material a priori down-to-earth. However, it contains curiously any potential visual, sound, and touch, ” says Sophie Corriveau. “This relationship at the matter from a state of idleness. Because there is a loneliness, a relationship of curiosity settles in the relation to the object. The pasta become a texture. Each step above produces a sound that mixes the sensations from the inside. “
If then establishes another time and space, as if suspended, where the focus sharpens and the senses sharpen. “Even if the viewer does not live which is a touchscreen, I open a door the lead to understand her own feelings. I feel that by opening this door in me, I participate in the open in the other, ” she says, addressing the notion of presence — that of the performer in correlation with the viewer and that which one carries in oneself and empathy for the sharing of this sensitive experience.
Guided by Jean-Sébastien Lourdais, this work involves exposing intimate from which emerges a vulnerability that is paradoxically transformed into a strength. Blue aligns to the Middle of nowhere, a first collaboration that allowed them to get to know each other and to merge their universe : “Jean-Sébastien [Lourdes] is working slow. It is very important to him to allow for the emergence of things, rather than forcing them, ” she said, describing a process that requires improvisation increased and continuous. A way to work authentic that allows immense freedom to the designer, drawing and the essential things in it, sometimes unsuspected.
It is as if one took the inside of the body and returning the skin. I love to imagine the body as a kind of measuring instrument between the other and self, between space and self, to put in the front which is beyond its visible boundaries.
— Sophie Corriveau
“But the idea of noodles came to me at a time where I had the impression of having exhausted all the juice, where I could no longer get out my guts on the table. I went to the grocery store and I said to myself that I needed something, other than myself, with which to play and build a relationship “, has fun, does it, to the effect that there is no complaint against the choreographer.
A mapping of attendance
Photo: Veronique Soucy
Fluid-Grounds”, performance, playful, imagined with Benoît Lachambre, takes place in eight hours and installs artists in a space in perpetual transformation
After the noodles, place with adhesive tape. Another matter of daily diverted from its usual use to be used to construct a map of the presences and relationships “. Fluid Equipment, performance, playful, imagined with Benoît Lachambre, takes place in eight hours and installs artists in a space in perpetual transformation, their environment is loading strips of colours at the option of the visits of the spectators. “It is a very inclusive one, where people are invited to walk around, to sit, to take pictures and even touch us on the occasion. The visual environment as well as the dance are inseparable from their presence. They act on the micro-events of our bodies. “
The task the performers were given in this project is very precise and requires a focused attention. It is for them to play with the texture of the ribbon, to see how elasticity fits to the inside of the body and what memories it awakens in them. “The footprints are the marks of the relationships that one has with the visitors. By their shapes, curves and colors, they hold a symbolic, non-named, “explains the designer, who invites us to an experience that is not dramatic,” or “a game with perceptions almost fairytale,” which calls to contemplation, and immersion. Everyone will have a choice to drop his mark by finding his own symbolism.
Blue / Fluid Grounds
A creation of Jean-Sébastien Lourdais with Sophie Corriveau, a co-production of the FTA and The Chapel, from 27 to 29 may. / A creation by Benoît Lachambre and Sophie Corriveau, presented in the framework of the FTA and co-produced by Agora de la danse, from 1 to 3 June.
Jane Virgil has been a reporter on the news desk since 2013. Before that she wrote about young adolescence and family dynamics for Styles and was the legal affairs correspondent for the Metro desk. Before joining The Koz Week, Jane Virgil worked as a staff writer at the Village Voice and a freelancer for Newsday, The Wall Street Journal, GQ and Mirabella.