Nicolas Bernier creates sound performances, installations, musique concrète, live electronics, post-rock, noise improv, video art while also working with dance, theatre, moving images and interdisciplinary contexts. In the midst of this eclecticism, his artistic concerns remain constant: the balance between the cerebral and the sensual, and between organic sound sources and digital processing. His works have been of interest for Prix Ars Electronica (Austria), SONAR (Spain), Mutek (Canada), DotMov Festival (Japan) and Transmediale (Germany) and have been published on lovely labels like Crónica (Portugal), Ahornfelder (Germany), leerraum (Switzerland) and Home Normal (UK).He his currently undertaking a PhD in sonic arts at the University of Huddersfield (UK) under the direction of Dr. Pierre Alexandre Tremblay and Dr. Monty Adkins. He his a member of Perte de signal, a media arts research and development centre based in Montreal. (Credit : Annie Zielinski, 2010)
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After a formation in Cecchetti, in Lemon and in a «release» technique, Emmanuelle has working as a dancer with a variety of choreographers ; Alan Good, Massimo Agostinelli, Sonia Delwaide, Jadson Caldeira, Marjon VanGrunsven, Roberto Campanella, Edgar Zendejas et Harold Réhaume. From 2006 to 2011, she joined the compagny Dave St-Pierre and danced La Pornographie des Âmes et Un peu de tendresse, bordel de merde and she collaborated as rehearsal director for various projects Audrey Bergeron, Jessica Serli, Anne Thériault and Pierre-Marc Ouellette. She has contribuating at the creation of Dévorer le ciel of Danièle Desnoyers and before that she has participated in the collectif project Les Angèles, ces derniers bleus. Recently, she has worked with Hinda Es-Sadiqi on the creation of danse-video called La terre nous est étroite. She is actually doing a master in dance at UQAM, where she is teacher assistant and rehearsal director for some dance class and somatic education. Emmanuelle also teaches ballet, yoga and Spinal training at The École de danse contemporaine de Montréal.
Éveline Grégoire-Rousseau studied piano from the age of 6, turned to the harp the age of 12, and since then has pursued a diverse career in orchestral, contemporary classical and pop music. She completed Bachelors and Masters degrees at the Schulich School of Music of McGill University, and subsequently a certificate from the Manhattan School of Music, where she was on full scholarship. For several years she has contributed to the flowering of orchestral music in Québec, playing regularly with the Montreal Symphony Orchestra (including worldwide tours) and the Orchestre Métropolitain du Grand Montréal. She performs frequently with Les Violons du Roy and Le Nouvel Ensemble Moderne, and has appeared as soloist with the MSO and I Musici de Montréal. She is a member of Ensemble Punctum, a new music group composed solely of plucked string instruments, in which she has given many prémieres of world-class contemporary composers.
Grégoire-Rousseau is a founding member of the hybrid pop/classical group Plumes, which integrates repertoire chamber music and original pop songs. Well supported by the Canada Council for the Arts, the group will release two albums in the coming year and plans to tour Canada, the United States and Europe in 2014. She has collaborated with many leading pop singers and groups (Pierre Lapointe, Philippe B, Karen Young, Avec Pas d'Casque), and is also a songwriter in her own right. Her involvement in the pop sphere has made her equally at home on electric harp as on her orchestral instrument.
Sophie Corriveau works in the contemporary dance field as a dancer, teacher, rehearsal Director and artistic Adviser. After her training at École supérieure de Ballet du Québec, she started her career at the Theater Ballet of Canada, then joined Montréal-Danse from 1989 to 1993. These two companies has conducted her to wealthy and diverse encounters with choreographers such as Natsu Nakajima, Paul-André Fortier, Daniel Léveillé, Françoise Sullivan and James Kudelka to name a few. In 1993, she began to work with Danièle Desnoyers and assisted with several projects of Le Carré des Lombes in Canada and abroad. As a freelance dancer, she worked also with Catherine Tardif, Manon Oligny, Bill Douglas, Tassy Teekman, Harold Rhéaume, Alain Francoeur, Sylvain Émard, Jean-Pierre Perreault, Louise Bédard, Marie Béland and Frédérick Gravel. Fall 2011, Sophie Corriveau undertook a choreographic experiment with Jusqu’au silence, a solo she performed at L’Agora de la danse in collaboration with her brother, the visual Artist Thomas Corriveau. Sophie Corriveau teachs presently at L’École de danse contemporaine de Montréal and she is the rehearsal Director for Daniel Léveillé Danse and Le Carré des Lombes.
Denis Lavoie’s name is associated with more than a hundred productions, mainly in dance and theatre. He has contributed to works by Fortier Danse-Création (Paul-André Fortier), Cas Public (Hélène Blackburn), O Vertigo (Ginette Laurin), Les Grands Ballets Canadiens, the National Ballet of Canada, Ballets Jazz de Montréal , the American Ballet Theatre (New-York) and the San Francisco Ballet,Ballet Met (Ohio),Boston Ballet,Atlanta Ballet ,the Joffrey Ballet,the national Slovak theater (Bratislava) and Ballet de Nancy (France).In 1994, he designed Mick Jagger’s wardrobe for the Rolling Stones’ Voodoo Lounge Tour. He has also worked in the theatre world, with directors Claude Poissant, Martin Faucher , Fernand Rainville and Serge Postigo. Parallel to his work as a designer, he has been involved in training for the past ten years, giving classes, seminars and workshops on costume at various schools and organizations, including the Dance Department at the Université du Québec à Montréal, Concordia University and En Piste (Circus Arts National Network). In 2004 he received a Prix du Public from Théâtre Denise-Pelletier for best costumes for his work on Molière’s Les Femmes savantes, directed by Martin Faucher.
For over tweety-five years Marc Parent is lighting designer. Initially specialised in contempory dance, he has been working with a dozen of choreographs both on the Québec and international stage. (Danièle Desnoyers, Jocelyne Montpetit, José Navas, Daniel Léveillé, Lucie Grégoire, etc.). He has also worked frequently for the theater with various directors including Denis Marleau, Martin Faucher and François Girard. He has been also lighting designer for different international choreograph of contempory ballet as Kader Belarbi (La bête et la belle), Mauro Bigonzetti (Les quatre saisons) Didy Veldman (TooT / Le petit prince) and Stijn Cellis (Noces / Cendrillon / Le sacre du printemps). Marc Parent received twice a nomination for a Masque de conception d’éclairages by l’Académie québécoise du théâtre (a light design prize) and he received a Dora Mavor Moore Award 2013 for Outstanding Lighting Design for Stereophonic, presented by Toronto’s Peggy Baker Dance Projects. He is actually designer in residency for Les Grands Ballets Canadiens de Montréal.
Always exploratory and meticulous, Shemie's solo pursuits involve performance based experimental sound practices that integrate freeform excursions and more structured compositional music — veering into classical, radio art, new technologies and all manner of other avant-garde investigation.
Best known as singer and guitarist for art-rock-tronica act Suuns, Shemie also boasts a background in modern classical composition and experimental performance. A fascination for electronic music spurred him to experiment, expand his sound and fuse it with the conventions of many genres. Ever inquisitive, he seeks out novel conceptual projects and challenging delivery systems for new musical creations.
Nancy Tobin is an audio artist based in the St-Henri neighbourhood of Montreal. Her sound designs for dance and theatre productions have been part of the Festival TransAmériques, the World Stage Festival, the Festival d’Avignon and the Edinburgh International Festival .Tobin has, in her twenty years of experience, developed a specialization in vocal amplification for theater and is known for her distinct style using unusual loudspeakers to transform the aural qualities of her compositions. In 2004, she received a nomination for the Masque de la conception sonore (sound design prize) by the Académie québécoise du théâtre for her work in the production of Le Procès staged by François Girard. She had also been collaborating with Danièle Desnoyers on different productions (Concerto grosso pour corps et surface métallique (1999), Bataille (2002) Duos pour corps et instruments (2003 et 2014), Là où je vis (2008).
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