Photo: Antoine Quirion Couture
Hell, it is still the other, and we only stay on the surface of this idea, so that one nonetheless feels that there is work and research.
This season, a number of pieces reflecting the impression of a world on the brink of the precipice are illustrated in the scenes in the dance. From Hofesh Shechter, in Marie Chouinard or at Andrew Skeels, hell on earth is available in various shades and convenes on stage as much archetypes as figures of migrants and civilians taken away by the armed conflict. It is the turn of Estelle Clareton and Olivier Kemeid of us deliver their own vision of hell at the théâtre de Quat’sous, inspired by Dante and his founding text, the Divine comedy, while echoing the precarious nature of our hell modern.
The choreographer and the playwright drew on the imagery In the night all alone in the engravings of Gustave Doré. In this piece of non-verbal and eventful, dancers and actors form a coherent group. Here, it will not take too look for the theatre. The creators rely instead on the theatricality of the dance, the drama (in the sense of the theatrical of the term) remaining very discreet. Citations in the back of the stage taken from the text of Dante’s complement sequences being performed. It hangs on to it, without that they just have too much to comment on the dance or the dance is trying too illustrate it.
The decor modern and minimal signed Romain Fabre consist of white walls skewed at acute angles. The septet appears in the first still. The eyes are front-end and then, in a slow walk, approaching each other as the edge of the stage. And suddenly, its brutal. The body, alert, block figures of Guernica, arms outstretched to the sky, gesture of protection, and smashes it against the ground. The choreography revolves around tumbles, falls, body rolling, crawling, and straighten before entering into the rank of a walking procession. You will find in the fabric of choreography as a series of archetypes phantasmagorical : a mænad with a voracious appetite, a trio of gorgons, a satyr raping everything that moves on its passage, a pietà and monsters to the top of the garbage bags.
Heaviness and repetition
The duo of Nicolas Patry and Esther Rousseau-Morin, that the passion pushes them to eat each other, reconvoque the dynamic love-hate, shot out of a contemporary dance that annoys. But, after all, for some, it may be also that, hell.
While the dancers engage in struggles and fights hard, is it sin not to have empathy for these characters who mishandle on stage ? In depicting the violence in the world by the incarnation of violence and suffering, sometimes with affliction, in a precarious environment — without, however, digging the state far enough that we believe in —, the proposal exudes a certain heaviness and repetitions. The short piece does too little time dead, and it tends to choke under the omnipresence of the soundtrack to the Éric Forget, that highlights the effect of anxiety. Unfortunate result is a certain detachment in front of what is played on stage, although the septet to be fully invested, gives way to a fluidity and gives himself in the choreography.
In sum, under the night, nothing new. Hell, it is still the other, and we only stay on the surface of this idea, so that one nonetheless feels that there is work and research. But on the vertigo of a world on the brink of the precipice, and his descent into the underworld, it must be said that we have seen more convincing elsewhere this fall.
Under the night solitary
Creation of Estelle Clareton and Olivier Kemeid inspired of the of Dante. With Larissa Corriveau, Renaud Lacelle-Bourdon, Esther Rousseau-Morin, Nicolas Patry, Eve Pressault, Éric Robidoux and Mark Eden-Towle. A co-production of the Three Sad Tigers and Creations Estelle Clareton, in codiffusion with the théâtre de Quat’sous. Until 2 December 2017 at the théâtre de Quat’sous.