Emotional memories and the passage of time are crystallized in an elusive and fantastically effective theatre object. A kaleidoscopic portrait of a hallucination that appears suddenly out of the fog of the intimate.
WHAT REMAINS OF US
The floor is littered with objects waiting for gestures to bring them to life. Time is suspended as though in a dream; images from an internal theatre whose actors have taken the day off. In a fantastical space a young woman retraces the path of her life, fluctuating between self-exposure, doctored truths and memories of the future. A kaleidoscopic portrait of a hallucination that appears suddenly out of the fog of the intimate, where pink and grey often go hand in hand. Her translucent face and her delicate voice are transformed. She adopts a new image, is ageless. With next to nothing, she captivates. The tale she tells could be our own. Bang on target.
After the forceful punch of Mygale at the FTA in 2012, Nicolas Cantin is back with the caress of nostalgia that he evoked last year in the moving solo CHEESE. Installed at the edge of the stage in full view of the audience, he pulls the strings of Klumzy, a new and disconcerting theatre object that is fantastically effective. Great art.
PRODUCED AND CREATED BY NICOLAS CANTIN
PERFORMED BY ASHLEA WATKIN
LIGHTING DESIGN KARINE GAUTHIER
COPRODUCTION FESTIVAL TRANSAMÉRIQUES + USINE C
CREATIVE RESIDENCIES USINE C + L’L (BRUSSELS) + MONTÉVIDÉO CRÉATION CONTEMPORAINE (MARSEILLE)
PRESENTED IN ASSOCIATION WITH USINE C
WRITTEN BY FABIENNE CABADO
TRANSLATED BY NEIL KROETSCH
PREMIERED AT FESTIVAL TRANSAMÉRIQUES, JUNE 3, 2014
NICOLAS CANTIN (MONTREAL)
With Minimalism and Presence
Trained in clowning and mask work, Nicolas Cantin hovers on the edge of artistic boundaries and genres, cobbling together pieces that he strips to their bare bones in order to present the very core.
Like a lab technician very curious about his research subject, he captures life in all its simplicity, dissecting it by stretching out time to the very edge of ennui. In each piece he zeroes in on intimacy, on what is most secret. Whether it charms or repels, his discourse hits home. With the somber and radical Mygale (FTA, 2012), he ventured into the troubled zones of emotional handicap previously staged in Belle manière and Grand singe. With a trilogy collectively entitled Trois romances, this French artist has made his mark in Montreal. In 2005 he established his dance reputation with Jachère, a solo by Christiane Bourget that led to a Paula Citron Dance Award in Toronto. He then settled in Montreal where he appeared in Glass House and Falaise, and later danced for Frédérick Gravel (Tout se pète la gueule, chérie, FTA, 2010). Co-choreographer of the circus solo Patinoire, presented by 7 doigts de la main, Nicolas also teaches at Montreal’s National Circus School and at the National Theatre School of Canada. He is the sound designer for each of his works, and is currently artist in residence at L’L (Brussels), at Montevideo (Marseille) and at Usine C in Montreal where last year with CHEESE he began his work on memory, further developed in Klumzy.