Photo: Catherine Legault Duty
The choreographers Priscilla Guy and Sebastien Provencher have taken a series of stage pictures, dealing with the effects of the Web on our behaviors and our motor skills.
There was once two skeletal figures who sought a meaning to their existence in a world that is hungry for information. This story funny straight out of their imagination shifted, choreographers, Priscilla Guy and Sebastien Provencher have taken a series of stage pictures, dealing with humor of the effects of the Web and the screens on our behaviors and our motor skills.
In this theatre of the absurd, which crosses dance, video, music and text, the tandem has in its line-of-sight, the general trend to stay just at the surface of things, ranging from the rooster to the donkey, the image of a news feed that would scroll in order to kill the time.
“The idea of skeletons is coming at the start of a joke between friends. What is the basic premise humorous has led us little by little to question ourselves on the glut of information, speech and images to which we are exposed every day on the Web and social networks, ” says Sebastien Provencher.
Rather than opting for a narrative that would follow the evolution of their characters, artists have relied on the principle of the Web, flipping from one register to the other to evoke a certain ” drift scrolling “. “Very quickly, we tried to do is meet the form and background, ensuring that this one-upmanship of the speech and all these images from popular culture that bombard us are in our body,” adds Priscilla Guy.
When you think of the media flow, it is often the idea of speed and movement that we hold, but in front of the screen, there is also a paralysis of the body
— Priscilla Guy
It is through the voice of a moderator (Renaud Paradise), the story of the two skeletons, characters dumb, is unveiled on stage. The piece plays on the tension between what is said and what is passed over in silence, as well as on speech, borrowed, and falsified, so that it becomes difficult to disentangle the true from the false.
Through a monologue, signed by Dany Boudreault slips a critique of stardom and the emptiness of the discourse related to it : “The facilitator is a character very narcissistic which is taken in a posture where, to see itself validated, it needs to validate something that has no meaning and to create meaning with the vacuum. “
From the abstract to scenes from daily life, the tables, while playing on contrasts, show how the body is désincarnent and give up in front of the image.
In their waltz through the records, the duo use of references to pop culture and effects on small-scale — phosphorescence of the costumes and games of light, as well as on the support of musicians on stage.
Imposing as a constraint to move by mobilizing the least possible their muscles, the dancers have built up a vocabulary of minimalist and performative. It is important for them to ensure that their attendance is dwindling and almost disappear in the body. A way to reflect our attendance almost disembodied when one is obsessed with our screens.
“When you think of the media flow, it is often the idea of speed and movement that we hold, but in front of the screen, there is also a paralysis of the body. Someone who walks in the street, his eyes glued to her cell phone, for example, it can hardly be more spectral like presence. You can see that there is something going on at the level of the eyes and face, but the rest of the body is disengaged. Same thing when we look at the children in front of screens, they are like to side of their body, ” describes the designer.
Show a long run in front of a public audience, because using humor as a red wire, Two skeletons, the admission of the creators, has the status of an object stage is not identified in the programming of the Agora de la danse.
Of what get out off the beaten path, so that this phenomenon of disembodiment generated by the omnipresence of screens in everyday life — problems yet so familiar to all, — still remains a topic little addressed in dance.
Creating and Priscilla Guy and Sébastien Provencher. At the Agora de la danse, from 30 January to 2 February.