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IN MUSEUM

MARIE CHOUINARD

The great Marie Chouinard embodies the dreams that visitors of the Museum of Fine Arts confide in her. This intense and memorable encounter is truly a gift.

Details

Everything is white: the dance floor, the props and even her clothing. In this sacred space at the heart of the Museum of Fine Arts, Marie Chouinard embodies the aspirations that visitors secretly confide in her. She transforms movement into a shamanistic language. She connects to those who have come to whisper their wishes in her ear, lets a prayer rise out of her body, and writes it out invisibly in the hope that the message will be heard. The audience watches – intrigued, enchanted and astonished – perhaps looking to solve the mystery of these ephemeral dances. Together with the dancer, the audience will experience the immediate wonder of an absolute presence.

Returning to the stage after a 20-year absence, this great Québec choreographer abandons herself to dazzling spontaneity for these custom-made improvisations. Moving quickly between frenzy and contemplation, gravity and humour, she offers us the rare opportunity of direct contact with the artist. This intense and memorable encounter is truly a gift.

Credits

PRODUCED BY COMPAGNIE MARIE CHOUINARD
CREATED AND PERFORMED BYMARIE CHOUINARD
PHOTO SYLVIE-ANN PARÉFEATURING MARIE CHOUINARD

PRESENTED IN ASSOCIATION WITH MONTREAL MUSEUM OF FINE ARTS

WRITTEN BY FABIENNE CABADO
TRANSLATED BY ANDRÉE MCNAMARA TAIT

PREMIERED AT MUSÉE D’ART CONTEMPORAIN DE BAIE-SAINT-PAUL, QUÉBEC, AUGUST 31, 2012

 

MARIE CHOUINARD (MONTRÉAL)
COMPAGNIE MARIE CHOUINARD

Exultation of the body and soul

Born into a family of artists in Quebec City, Marie Chouinard enjoyed a solo career for 12 years before founding her company in 1990. Her first creation, Cristallisation, danced to the sound of a broiler oven, propelled her to the ranks of the most exceptional creative artists. A charismatic dancer constantly seeking authenticity, she has pushed boundaries without regard for the public’s reaction and made headlines for urinating on stage (Petite danse sans nom, 1980) and masturbating (Marie Chien Noir, 1982). Revelling in the raw and luminous poetry of instincts, she has created organic and often very explicitly sensual dances, such as L’après-midi d’un faune (1987). Presented during the Festival de théâtre des Amériques, Les trous du ciel, her first group work, was hailed as a revelation. The piece features her signature use of breath, voice and undulations of the spinal column. Major works from her repertoire such as Le sacre du printemps (1993), Les 24 préludes de Chopin (1999) and bODY_rEMIX/les_vARIATIONS_gOLDBERG (2005) are still touring, as is ORPHÉE ET EURYDICE (2008, FTA coproduction); meanwhile, major ballet companies are remounting some of her creations.

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