My toes striving till the tips of your fingers
(french title : D'arrache-pied jusqu'au bout de tes doigts)
(french title : D'arrache-pied jusqu'au bout de tes doigts)
World premiere of this work was shown during the Montreal Fringe Festival 2023, and we're happy to announce that we'll be performing it again from June 6th to June 16th 2024!
Synopsis :
My toes striving, while my life is falling of my hands...
Shall I still move towards you ?
Shall we seek our freedom or will one of us stay behind ?
Some body parts will relentlessly repeat the initial movements of walk.
Other kinds of limbs will draft gestures of love.
And yet, some bodys will remain aloof and alone...
This piece testifies to Johanne Gour's fascination with the relationship between the forced immobility of those who are sitting and the ability to discover pertaining to all those legs that come and move away. The presence on stage of the choreographer in a wheelchair begets a singular view.
Synopsis :
My toes striving, while my life is falling of my hands...
Shall I still move towards you ?
Shall we seek our freedom or will one of us stay behind ?
Some body parts will relentlessly repeat the initial movements of walk.
Other kinds of limbs will draft gestures of love.
And yet, some bodys will remain aloof and alone...
This piece testifies to Johanne Gour's fascination with the relationship between the forced immobility of those who are sitting and the ability to discover pertaining to all those legs that come and move away. The presence on stage of the choreographer in a wheelchair begets a singular view.
Distorted classical lines and arbitrary movements that feel intimate, vulnerable and fragile. A new vocabulary that uses technique but is also free of its constraints. - Alexandra MacLean
|
While formal yet sensual movements come and go, some tangible and some unrecognizable visions flow during this dance piece, opening a field for images and dreams.
- Sona Pogossian and Esther Gaudette |
Une empreinte chorégraphique polyvalente et abstraite pour traiter du corps comme porteur de sens.
- Léa Villalba, Bible urbaine, 2017
Showtimes
Friday June 7th at 6 PM
Sunday June 9th at 4 PM
Monday June 10th at 5:30 PM
Tuesday June 11th at 9 PM
Friday June 14th at 2 PM
Sunday June 16th at 1:15 PM
Friday June 7th at 6 PM
Sunday June 9th at 4 PM
Monday June 10th at 5:30 PM
Tuesday June 11th at 9 PM
Friday June 14th at 2 PM
Sunday June 16th at 1:15 PM
General admission : 10$
Students, people with disabilities : 8$
Seniors (65 +) : 8$
Refugees : 8$
Members of UDA, RQD and En Piste : 8$
TEAM
CHOREOGRAPHER
Johanne Gour is particularly fascinated by the articulation and shape of the human body. Currently completing a Master's degree in dance creation at UQÀM (Université du Québec à Montréal/University of Quebec in Montreal), she is interested in movement for its mechanicity, rhythm and organization, as well as its expressive capacity. Through subtle modulation, Johanne Gour fashions an abstract work that carries a singular atmosphere. She has presented several works over the past fifteen years. Many were shown at the Gesù Theatre of Montreal, for the Liens et Lieux event which she produced and at several festivals such as the Montreal Fringe Festival.
PERFORMERS |
DRAMATURGY ASSISTANT |
REHEARSAL ASSISTANT |
Alexandra MacLean studied at the Ailey School in New York with Fordham University and received her BFA in Dance and English in 2012. She danced with the Dakshina/Daniel Pheonix Singh company for two years in Washington, DC and in Quebec, she worked with Eva Kolarova for the show A Fragmented Mind at the Place des Arts and with Valerie Sabbah in Rimouski for a residency of the show Cotillion which was presented at Spect'Art Rimouski. She also worked on a resort in Los Cabos, Mexico as a dancer during 2016. She collaborated with Johanne Gour in two shows: Mon cœur s'allonge comme une éponge and L'imprévisible forme des corps aux lendemains de la vie. She teaches dance for all ages in studios, schools and community centres in Montreal.
|
Esther Gaudette is an accomplished dancer. She has danced both here and internationally for such renowned choreographers as Daniel Léveillé, Daina Ashbee and Isabelle Van Grimde. She choreographed Jean Leloup's Pow Wow and worked closely on his feature film Karaoke Dream. On theater stages, she danced for Dominique Champagne's Paradis Perdus and
Loui Mauffette's Poésie, sandwichs et autres soirs qui penchent. Her talent earned her the 2017 Best Performer at the Prix de la Danse de Montréal. In 2022, she founded her own dance company, Goddess Dance Cie, and presented her first solo work, Drive, in June of that year, with the support of the Canada Council for the Arts and the Conseil des arts et des lettres du Québec. |
Pauline Berndsen Gervais is a Montreal-based dancer and choreographer. A graduate of the 2005-2017 cohort of the École supérieure de ballet du Québec, she founded her own dance company, Pauline Berndsen Danse. Based in Montreal, Pauline Berndsen Danse is a contemporary dance company founded in 2018 by Pauline Gervais. The company's choreographic work has been presented at Festival Quartiers Danses (Montreal), DANTZAN TZAN Fest (Spain), Plateforme Danse (Corsica), Festival Vue sur la Relève (Montreal), Guelph Dance Festival, (Ontario), Westfest (New York), Festival St-Ambroise Fringe (Montreal) and Festival de danse contemporaine de Sherbrooke (Sherbrooke). Fascinated by the exploration of the body in all its viscerality, fluidity and disarticulation, Pauline Gervais creates original scenic worlds where several states of being cohabit.
|
Sona Pogossian is an Armenian performer and choreographer. Sona has taken part in artistic projects in over 10 countries, including Anna Halprin's La danse planétaire in France, a performance reading directed by Klaus Karlbauer in Austria, and Cavalo marinho laboratories in Brazil. At the same time, she is involved in various socio-cultural projects such as the NGO United World College and U-man Radio.
At the same time, Sona is pursuing a doctorate in art studies and practice, with the aim of shedding light on the expressiveness of women in wartime. |