Rather a Ditch
Echoing the hypnotic Steve Reich album Different Trains, Clara Furey directs Céline Bonnier in a sensual, visceral solo full of the silence of what has been lost.
Woman as landscape, woman as machine. Waiting for the train, or the train itself. A jerky, jolting journey of the body set to frenetic music. And then, silence. Echoing the hypnotic Steve Reich album Different Trains she listened to as a child, Clara Furey directs Céline Bonnier in a visceral, existentialist solo.
What if we had taken the wrong train? How do survivors cope with guilt and gratitude? Furey examines the questions Reich asks about the sacrificed of history, probing the fragility of our destinies. The silence resonates with the profound solitude of humanity facing itself after the chaos. Paying meticulous attention to breathing, to the subtle bursts of energy in the paper wall imagined by the visual artist Caroline Monnet, Clara Furey explores the body’s states of being, carving a new language into the abyss. Spare, vibrant, magnetic.
Produced by Clara Furey
Executive Producer Par B.L.eux
Original Idea Olivier Bertrand
Concept and Artistic Direction Clara Furey
Created with and performed by Céline Bonnier
Sonic Conception Jean-François Blouin
Sonic Research Ida Toninato
Set Design Caroline Monnet
Lighting Design Karine Gauthier
Costume Design Michèle Hamel
Outside Eyes Andrew Tay + Christopher Willes
Lighting Design Assistant Tim Rodrigues
Technical Direction Maude Bernier
Distribution Par B.L.eux
Co-produced by Festival TransAmériques + La Chapelle Scènes Contemporaines
With the support of Centro per la Scena Contemporanea (Bassano del Grappa) + Danse à la Carte + Par B.L.eux
Codiffusion La Chapelle Scènes Contemporaines
Clara Furey is an associate artist at Par B.L.eux
Written by Elsa Pépin
Translated by Neil Kroetsch
Premiered at Festival TransAmériques, Montreal, on May 26, 2019
Clara Furey (Montreal)
Clara Furey studied music at the Conservatoire de Paris, and began her career as a singer and composer.
She then studied dance at the École de danse contemporaine de Montréal and performed for choreographers such as George Stamos, Damien Jalet and Benoît Lachambre. An artist who collaborates with others (Untied Tales with Peter Jasko, presented at the Venice Biennial in 2016, Ciguë with Éric Arnal Burtschy), Furey singlehandedly directed Cosmic Love, in 2017, an ensemble minimal movement piece that explores emptiness and invisible aspects in interactions between the body, song and space.
The performer and choreographer is interested in the shifting codes of various art forms, in interdisciplinary dialogue. In 2017 she did 90 performances of When Even The next to a sculpture by Marc Quinn, as part of the Leonard Cohen exhibit at the Musée d’art contemporain de Montréal.
She performed at the FTA in Là où je vis (2008) by Danièle Desnoyers and in Poésie, sandwichs et autres soirs qui penchent (2008) by Loui Mauffette and, with Benoît Lachambre, co-created Chutes incandescentes (2012), an unclassifiable solo for two bodies. With Rather a Ditch, Furey is once again working with her accomplice Céline Bonnier, with whom she created Hello. How are you (2011).
This time she is pursuing her research on the porosity of bodies and dialogue between various media, in a piece that is a response to Steve Reich’s Different Trains album, an invitation launched by Olivier Bertrand, artistic director of La Chapelle Scènes Contemporaines.