I have had the chance to see so many great dance shows this past year that I could not resolve myself to singling out only ten, to say nothing of trying to place them in any kind of order. So I decided to double the list by dividing them between long and short works. The latter will follow next week.
Les Angles Morts, Mélanie Demers
Demers brought her social conscience to the dance scene with this highly creative work that manages to juggle the strange, the political, and the humorous without ever dropping any of the balls. A call to action that was fuelled by the power of imagination.
Bertolina, Sharon Eyal
One can only feel admiration in the face of this mass-scale work for twenty dancers that starts with a bang and exhaustingly maintains its high energy for an entire hour. A mesmerizing choreography of collectivity where members are still allowed their own individuality.
Brutalis, Karine Ponties
Using little more than minimal lighting and her own body, Ponties created a strange work that revealed that no amount of Hollywood special effects can compete with the eerie and very real manifestations of the human body. Brutalis built a creepy atmosphere that was impossible to shake off.
Étude #3 pour cordes et poulies, Ginette Laurin
The title of Laurin’s choreography is misleading. It is much more than a mere study; it is a full-fledged living work of art that is complex, stunning and mesmerizing. Throughout the show, there are countless situations where we can sense her desire to make the invisible visible. For her, magic is not what remains hidden; it is manifest.
L’Oeil du pigeon, Marie-Pascale Bélanger
Bélanger made every effort to create a singular, cohesive experience despite the wide variety of her material. She blurred the line between violence and dance to create a work that is theatrical, original, funny, but most importantly a work that was always thinking and always alive.
Un peu de tendresse, bordel de merde, Dave St-Pierre
St-Pierre came back with his second full-length endeavor, which was like a punch in the face on the cheek that he had left untouched. He refuses to let the audience become passive voyeurs, demanding that we become accountable for the way we treat each other with corrosive humour and moments of staggering beauty.
Quantum-Quintet, Brice Leroux
In this choreography of limbs, the eye could not even see the forearms as such anymore, and they simply become lines. Evoking different patterns that could be as many physical combinations to open a lock, the work was not surprisingly unique and intensely hypnotic, and left the audience in timeless suspension.
R.A.F.T. 70, Marc Boivin
It is thrilling to attend a show that, from beginning to end, never forgets its audience. Through improvisation, everyone involved successfully managed to break the usual parameters of the dance experience and create a space that was exciting for the audience to enter.