[et_pb_section fb_built=”1″ _builder_version=”4.26.0″ _module_preset=”default” custom_padding=”||0px|||” saved_tabs=”all” global_colors_info=”{}”][et_pb_row _builder_version=”4.26.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.26.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_post_title _builder_version=”4.26.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_post_title][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.26.0″ _module_preset=”default” custom_padding=”2px|||||” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.26.1″ _module_preset=”default” custom_padding=”0rem|2rem|0rem|2rem|true|true” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.26.1″ _module_preset=”default” animation_style=”slide” animation_direction=”left” global_colors_info=”{}”][et_pb_heading title=”1989-1994″ admin_label=”Dates” _builder_version=”4.26.1″ _module_preset=”default” title_level=”h2″ title_font=”|||on|||||” title_font_size=”3.5rem” custom_margin=”||-1px|||” global_colors_info=”{}”][\/et_pb_heading][et_pb_text admin_label=”Description” _builder_version=”4.26.1″ _module_preset=”default” text_text_color=”#000000″ custom_margin=”||35px|||” global_colors_info=”{}”]<\/p>\n
Since the early 1990s, Dani\u00e8le Desnoyers has adopted a path of reflection and exploration that both arouses and appeals to the senses. Since her professional dance training at the Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, she has gravitated towards choreographic creation. Her first work,\u00a0Des h\u00e9ros d\u00e9saffect\u00e9s<\/em>\u00a0(1986), propelled her to the forefront of the Quebec dance scene. In its early days, Le Carr\u00e9 des Lombes, which she founded in 1989, presented\u00a0Rouges-Gorges<\/em>\u00a0(1989),\u00a0Mirador-Mi-Clos<\/em>\u00a0(1990) and\u00a0Les bois dormants<\/em>\u00a0(1991)\u2014 the latter performed in Utrecht, Chatillon and Lille \u2014 as well as\u00a0Ex-Voto<\/em>\u00a0(1992). These works derived their force from their restraint, delicacy and sense of mystery. The emotions they elicited sprung from the gestures themselves, almost hand-crafted in effect. Each of these works became favourites with the public.\u00a0Du souffle de sa tourmente, j\u2019ai vu<\/em>\u00a0(1994), created during residencies at Agora de la danse (Montreal), at the Laboratoire du Groupe de la Place Royale (Ottawa) and the Yellow Springs Institute (Pennsylvania), opened the doors to worldwide recognition. In 1995, riding this wave, the company undertook a major tour across Canada, the United States and Europe.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.26.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.26.1″ _module_preset=”default” custom_padding=”0rem|2rem|0rem|2rem|true|true” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.26.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.26.1″ _module_preset=”default” animation_style=”slide” animation_direction=”right” global_colors_info=”{}”][et_pb_heading title=”1995-1998″ admin_label=”Dates” _builder_version=”4.26.1″ _module_preset=”default” title_level=”h2″ title_font=”|||on|||||” title_font_size=”3.5rem” custom_margin=”||-1px|||” global_colors_info=”{}”][\/et_pb_heading][et_pb_text admin_label=”Description” _builder_version=”4.26.1″ _module_preset=”default” text_text_color=”#000000″ custom_margin=”||35px|||” global_colors_info=”{}”]<\/p>\n After the Conseil des Arts du Canada awarded her a grant, Dani\u00e8le Desnoyers travelled to Russia in 1995. She was subsequently invited to undertake a creation residency at the Centre d\u2019Arts Vooruit in Belgium, where she conceived the mood and atmosphere of\u00a0Discordantia<\/em>\u00a0(1997), a synthesis stemming from her impactful encounter with the dissonant, expressive music of Russian composer Sofia Gubaidulina. The choreographer here laid the foundations for the elements that would expand her choreographic vocabulary: tumultuous dialogues, clashes between dance and the audio material, competing forces from which evocations of the exterior world would arise. The work made a strong impression at the Festival international de nouvelle danse in Montreal, and then in Japan, where it was presented at the Shizuoka Performing Arts Center as part of the prestigious Theatre Olympics. Dani\u00e8le Desnoyers was the only Canadian invited to this event, which featured some twenty artists from five continents.<\/p>\n<\/div>\n<\/div>\n<\/div>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.26.0″ _module_preset=”default” custom_padding=”2px|||||” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.26.1″ _module_preset=”default” custom_padding=”0rem|2rem|0rem|2rem|true|true” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.26.1″ _module_preset=”default” animation_style=”slide” animation_direction=”left” global_colors_info=”{}”][et_pb_heading title=”1999-2003″ admin_label=”Dates” _builder_version=”4.26.1″ _module_preset=”default” title_level=”h2″ title_font=”|||on|||||” title_font_size=”3.5rem” custom_margin=”||-1px|||” global_colors_info=”{}”][\/et_pb_heading][et_pb_text admin_label=”Description” _builder_version=”4.26.1″ _module_preset=”default” text_text_color=”#000000″ custom_margin=”||35px|||” global_colors_info=”{}”]<\/p>\n In the late 1990s, the choreographer began to collaborate with sound designer Nancy Tobin, which led to three creations that literally set the body to music:\u00a0Concerto grosso pour corps et surface m\u00e9tallique<\/em>\u00a0(1999),\u00a0Bataille<\/em>\u00a0(2002) and\u00a0Duos pour corps et instruments<\/em>\u00a0(2003).<\/p>\n Concerto grosso pour corps et surface m\u00e9tallique<\/em>\u00a0featured five dancers with cleated shoes on a metal-plated stage. Described as \u201cremarkable,\u201d this quintet was awarded a Prix d\u2019auteur by the Conseil g\u00e9n\u00e9ral de la Seine-Saint-Denis (France) at the 7th Rencontres chor\u00e9graphiques internationales in 2000. This first collaboration led to invitations to the Music Biennale Zagreb (Croatia) and the Kampnagel (Germany) in 2003. Deriving her architectural elements from Baroque music\u2014that of Giuseppe Tartini, in particular\u2014Bataille<\/em>\u00a0(2002), the pair\u2019s second collaboration, combined periods and textures and included an on-stage performance by American violinist Malcolm Goldstein. Created during an exceptional residency at the Mus\u00e9e d\u2019art contemporain de Montr\u00e9al, the multimedia project\u00a0Duos pour corps et instruments<\/em>\u00a0(2003) also went well beyond the confines of dance. It had no stage, but rather a space open on three sides, with a visible technical mechanism integrating video fragments, set up near the audience. The performances of three singular female dancers, within three sound stations, unfolded in this intimate setting. The work was presented at the 11th Festival international de nouvelle danse, then at venues and festivals in Germany, Belgium, France, Hungary, Japan and Canada.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.26.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.26.1″ _module_preset=”default” custom_padding=”0rem|2rem|0rem|2rem|true|true” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.26.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.26.1″ _module_preset=”default” animation_style=”slide” animation_direction=”right” global_colors_info=”{}”][et_pb_heading title=”2004-2008″ admin_label=”Dates” _builder_version=”4.26.1″ _module_preset=”default” title_level=”h2″ title_font=”|||on|||||” title_font_size=”3.5rem” custom_margin=”||-1px|||” global_colors_info=”{}”][\/et_pb_heading][et_pb_text admin_label=”Description” _builder_version=”4.26.1″ _module_preset=”default” text_text_color=”#000000″ custom_margin=”||35px|||” global_colors_info=”{}”]<\/p>\n Play It Again!<\/em>\u00a0(2005) arose from encounters with a musical instrument\u2014the piano\u2014and with Jean-Fran\u00e7ois Laporte, a composer and designer of sound installations, and dramaturge Guy Cools. With echoes from the film\u00a0Casablanca<\/em>, the piece appealed to both eye and ear. Dominating a blank space, a piano manipulated by musician Martin Ouellet forms the pivot point for a succession of choreographic fragments that generate a multitude of gestural and aural textures. Dani\u00e8le Desnoyers drew inspiration from\u00a0Le roman du piano<\/em>\u00a0by Dieter Hildebrandt, which describes the paradox of the instrument: a symbol of the both the greatest virtuosity and the trivialization of music. A sense of play pervades the piece, as it does in her early works.\u00a0Play It Again!<\/em>\u00a0was performed at Agora de la danse (Montreal), the Royal City Theatre (Bruges, Belgium), and the Grand Th\u00e9\u00e2tre de Lorient (France).<\/p>\n At the crossroads of dance, experimental music and the visual arts,\u00a0L\u00e0 o\u00f9 je vis<\/em>, which premiered at the Festival TransAm\u00e9riques (2008), reveals the troubling mechanics underlying a meticulous orchestration of bodies\u2014bodies which act as translators of the agitation within them, in a space that transforms itself through the interventions of media artist Manon De Pauw. From a luminous worktable on stage, the artist creates a visual and performative dynamic in line with her own artistic practice. Trompe-l\u2019\u0153il effects, optical illusions and other strategies unfold via sequences filmed and projected in real time. The work created quite a stir: at December Dance (Belgium); the Cervantino Festival (Mexico); at events devoted to Quebec artistic creation; in Seville, Grenada and Malaga (Spain), where the company performed for the first time; at the Artdanth\u00e9 Festival in Vanves; at the Th\u00e9\u00e2tre Onyx in St-Herblain; and the Grand Th\u00e9\u00e2tre de Lorient (France).<\/p>\n<\/div>\n<\/div>\n<\/div>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.26.0″ _module_preset=”default” custom_padding=”2px|||||” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.26.1″ _module_preset=”default” custom_padding=”0rem|2rem|0rem|2rem|true|true” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.26.1″ _module_preset=”default” animation_style=”slide” animation_direction=”left” global_colors_info=”{}”][et_pb_heading title=”2009-2013″ admin_label=”Dates” _builder_version=”4.26.1″ _module_preset=”default” title_level=”h2″ title_font=”|||on|||||” title_font_size=”3.5rem” custom_margin=”||-1px|||” global_colors_info=”{}”][\/et_pb_heading][et_pb_text admin_label=”Description” _builder_version=”4.26.1″ _module_preset=”default” text_text_color=”#000000″ custom_margin=”||35px|||” global_colors_info=”{}”]<\/p>\n In 2009, Danse Danse (Montreal) gave carte blanche to Dani\u00e8le Desnoyers for the creation of a new piece. The choreographer decided to move away from the multidisciplinary approach of her last few works and re-establish her intimate dialogue with the body. In January 2010, at the Centre Pierre-P\u00e9ladeau,\u00a0D\u00e9vorer le ciel<\/em>\u00a0was unveiled, an evocation of expansion and freedom. In 2012, it was presented at the Sir James Dunn Theatre in Halifax, and was selected by the Conseil des arts de Montr\u00e9al for a city-wide tour. In the spring of 2013, this work for six dancers began a six-city European tour\u2014in France, Belgium and Holland. To close the season, the company performed at the Guangdong Dance Festival in China.<\/p>\n After residencies at Circuit-Est in Montreal, the Baryshnikov Art Center in New York, the Atelier de Paris-Carolyn Carlson, and TanzWerkstatt in Berlin, Dani\u00e8le Desnoyers created\u00a0Sous la peau, la nuit<\/a><\/em>\u00a0(2012), in association with the Festival TransAm\u00e9riques. The work\u2019s long, finely textured phrases remind us that dance has the power to fuel the imagination, unfurling its silent score within the music that completes it. Time is distended in a series of choreographic cameos portraying wandering souls of the night. The Conseil des arts de Montr\u00e9al once again selected the work for a tour of its boroughs. France and Belgium also welcomed the work.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.26.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.26.1″ _module_preset=”default” custom_padding=”0rem|2rem|0rem|2rem|true|true” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.26.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.26.1″ _module_preset=”default” animation_style=”slide” animation_direction=”right” global_colors_info=”{}”][et_pb_heading title=”2014-2017″ admin_label=”Dates” _builder_version=”4.26.1″ _module_preset=”default” title_level=”h2″ title_font=”|||on|||||” title_font_size=”3.5rem” custom_margin=”||-1px|||” global_colors_info=”{}”][\/et_pb_heading][et_pb_text admin_label=”Description” _builder_version=”4.26.1″ _module_preset=”default” text_text_color=”#000000″ custom_margin=”||35px|||” global_colors_info=”{}”]After\u00a0Concerto grosso pour corps et surface m\u00e9tallique, Play it Again!<\/em>\u00a0and\u00a0D\u00e9vorer le ciel<\/em>, Danse Danse (Montreal) commissioned a fourth production, in co-production this time with the Th\u00e9\u00e2tre national de Chaillot (Paris), Cultuurcentrum (Bruges), the National Arts Centre, the Canada Dance Festival (Ottawa), the CanDance network (Toronto) and the Arts Faculty of the Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al. These partners gave the choreographer a unique opportunity to create a large-scale work for several dancers. The result:\u00a0Paradoxe M\u00e9lodie<\/a><\/em>\u00a0(2014), a piece for 10 dancers that explored the multiple facets of our relationship with beauty. On stage, harpist Eveline Gr\u00e9goire-Rousseau performs a composition by Nicolas Bernier, manipulated live by a sound technician and integrated with a pre-recorded electroacoustic score. An international tour included stops at the TanzMainz Festival in Germany, the Torinodanza Festival in Italy, and the Centro Historico de Mexico.<\/p>\n In addition to these activities of Le Carr\u00e9 des Lombes, Dani\u00e8le Desnoyers completed three commissions:\u00a0Blue Hour: Stunde der W\u00f6lfe<\/em>\u00a0(2015), a piece for 12 dancers for the Staatstheater Mainz (Germany), now part of the repertoire of the theatre\u2019s resident company;\u00a0The Song We Share<\/em>, a duet featuring Ed Watson, principal dancer of the Royal Ballet of London, and Wendy Whelan, dancer emeritus and former principal dancer with the New York City Ballet, performed at London\u2019s Linbury Studio at the invitation of the Royal Opera House and New York City Center; and\u00a0For a Quartet<\/em> Last but not least, a major premiere was held in 2016:\u00a0Anatomie d\u2019un souffle<\/a><\/em>, commissioned by the Montreal Symphony (MSO) and co-produced by Danse Danse. This unique work for six performers and a ten-member choir\u2014an extraordinary meeting between contemporary dance and the organ\u2014can be seen as the culmination of a career shaped by a passion for diverse musical aesthetics. Music ranging from the 16th to 21st centuries are here combined with\u00a0Libera me<\/em>, an original composition by John Rea performed on the MSO\u2019s Grand Orgue Pierre-B\u00e9\u00efque by its organist in residence, Jean-Willy Kunz.[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.26.0″ _module_preset=”default” custom_padding=”2px|||||” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.26.1″ _module_preset=”default” custom_padding=”0rem|2rem|0rem|2rem|true|true” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.26.1″ _module_preset=”default” animation_style=”slide” animation_direction=”left” global_colors_info=”{}”][et_pb_heading title=”2017\u20142019″ admin_label=”Dates” _builder_version=”4.26.1″ _module_preset=”default” title_level=”h2″ title_font=”|||on|||||” title_font_size=”3.5rem” custom_margin=”||-1px|||” global_colors_info=”{}”][\/et_pb_heading][et_pb_text admin_label=”Description” _builder_version=”4.26.1″ _module_preset=”default” text_text_color=”#000000″ custom_margin=”||35px|||” global_colors_info=”{}”]<\/p>\n Recreated at Agora de la danse in 2014 to mark the 25th anniversary of Dani\u00e8le Desnoyers\u2019 career,\u00a0Duos pour corps et instruments<\/em><\/a>\u00a0(2003) continued to reinforce the work\u2019s international track record: in recent years it has been featured at the Centre national de la danse in 2015 (Paris, France), the Beijing New Dance Festival in 2017 (China), and the Suzanne Dellal Center in 2019 (Tel Aviv, Israel).<\/p>\n UNFOLD | 7 perspectives<\/em><\/a>, a work for seven performers, made its world premiere at the Festival TransAm\u00e9riques (Montreal) in the spring of 2019. Pulsating to the sharp-edged soundtrack of composer Ben Shemie, his first collaboration with the choreographer,\u00a0UNFOLD I 7 perspectives<\/em>\u00a0combines an apocalyptic atmosphere with moments of refined gentleness and sensuality. With a surprising stage structure designed by Genevi\u00e8ve Lizotte, Desnoyers tests the resistance of the body and the limits of its equilibrium. A magnetic and powerful duel between diverging forces, the piece enthralls with its finesse and furious energy.<\/p>\n This work benefited from the support of several partners: co-produced by the Festival TransAm\u00e9riques and created in residence at the Montpellier Danse festival at L’Agora, cit\u00e9 internationale de la danse (France), at Armunia in Castiglioncello (Italy), at the Banff Centre for the Arts, and at Circuit-Est centre chor\u00e9graphique, with the support of the Facult\u00e9 des arts and dance department of the Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al.<\/p>\n In line with the work\u2019s creative process, a series of projects were deployed over two consecutive seasons. First, a documentation project developed by Dani\u00e8le Desnoyers, entitled\u00a0Ce que la danse ne dit pas<\/em>, explored the notion of archiving in the performing arts, supported by the Fonds de recherche du Qu\u00e9bec: Soci\u00e9t\u00e9 et culture. From this project a danced conference was born, in which the choreographer shared not only her own work obsessions, but also those of her dancer-collaborators. Xavier Curnillon produced a full-length recording entitled\u00a0UNFOLD | Une conf\u00e9rence dans\u00e9e<\/em><\/a>.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.26.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.26.1″ _module_preset=”default” custom_padding=”0rem|2rem|0rem|2rem|true|true” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.26.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.26.1″ _module_preset=”default” animation_style=”slide” animation_direction=”right” global_colors_info=”{}”][et_pb_heading title=”2020-2021″ admin_label=”Dates” _builder_version=”4.26.1″ _module_preset=”default” title_level=”h2″ title_font=”|||on|||||” title_font_size=”3.5rem” custom_margin=”||-1px|||” global_colors_info=”{}”][\/et_pb_heading][et_pb_text admin_label=”Description” _builder_version=”4.26.1″ _module_preset=”default” text_text_color=”#000000″ custom_margin=”||35px|||” global_colors_info=”{}”]<\/p>\n At the beginning of 2020, the pandemic situation compelled Dani\u00e8le Desnoyers to pursue her research and creation projects in other forms and formats. She first directed a short film,\u00a0La for\u00eat des lisses<\/em><\/a>\u00a0on \u00cele d’Orl\u00e9ans, a prologue to the first atypical in situ work of her career.<\/p>\n The choreographer also developed\u00a0Compagnonnage 21<\/em><\/a>, a system devoted to research in the performing arts, inspired by a horticultural technique transposed to dance. From January to March 2021, she brought together some thirty artists involved in multiple projects of Le Carr\u00e9 des Lombes, alongside other artists in the performing arts. Anne Th\u00e9riault, a long-time collaborator of the choreographer, was the guest curator of this first edition of\u00a0Compagnonnage<\/em>.<\/p>\n The\u00a0documentary 7 perspectives<\/em><\/a>, directed by Xavier Curnillon in collaboration with Dani\u00e8le Desnoyers, premiered in March 2021 at the 39th International Festival of Films on Art, and was then screened at the Light Moves Festival in Limerick, Ireland in September 2021. In this film, the choreographer and performers offer emotionally charged insights into the mysteries of creation. In addition, in October 2021, a full recording of\u00a0UNFOLD | 7 perspectives<\/em><\/a>\u00a0was presented online at the SIDance Festival in Seoul, and in theatre at the GUNSAN festival.<\/p>\n In the summer of 2021, Dani\u00e8le Desnoyers worked on the first of her\u00a0Sc\u00e9nographies-Paysages<\/em><\/a>, a series of in situ choreographic works highlighting the artistic potential of rich and unique natural spaces, inspired by the very essence of the site. In August of the same year an outdoor creation,\u00a0La For\u00eat Mixte<\/em><\/a>, was presented by La Rotonde at the Parc maritime du Saint-Laurent on \u00cele d’Orl\u00e9ans. At dusk, spectators and artists took over the strangely beautiful natural dome formed by the For\u00eat des lisses, where nature has reclaimed the tracts and pathways of a former shipyard. That same summer, Desnoyers created\u00a0La V\u00e9randa<\/em><\/a>\u00a0at the Jardins de M\u00e9tis, in a scenic space designed by architect Pierre Thibault. Choreographic interventions took place on all sides, drawing on the rich lexicon that the choreographer has built up over the past 30 years.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.26.0″ _module_preset=”default” custom_padding=”2px|||||” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.26.1″ _module_preset=”default” custom_padding=”0rem|2rem|0rem|2rem|true|true” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.26.1″ _module_preset=”default” animation_style=”slide” animation_direction=”left” global_colors_info=”{}”][et_pb_heading title=”2022-2024″ admin_label=”Dates” _builder_version=”4.26.1″ _module_preset=”default” title_level=”h2″ title_font=”|||on|||||” title_font_size=”3.5rem” custom_margin=”||-1px|||” global_colors_info=”{}”][\/et_pb_heading][et_pb_text admin_label=”Description” _builder_version=”4.26.1″ _module_preset=”default” text_text_color=”#000000″ custom_margin=”||35px|||” global_colors_info=”{}”]<\/p>\n In the spring of 2022,\u00a0Compagnonnage 22<\/em><\/a>\u00a0focused on choreographic and interdisciplinary research. Artists Lila Geneix, Jean-Benoit Labrecque and Milan Panet-Gigon were invited to develop and expand their creative projects with the support of Le Carr\u00e9 des Lombes. The choreographer, for her part, devised a research environment in which she explored new rehearsal rituals. In all, some twenty artists took part in this edition.<\/p>\n A new site-specific work in the\u00a0Sc\u00e9nographies-Paysages<\/em>\u00a0<\/a>cycle,\u00a0Faunes-Variations<\/em><\/a>, a second invitation from the Jardins de M\u00e9tis, was created in the summer of 2022 in collaboration with the performers and the Conservatoire de musique de Rimouski. The piece unfolds in an immersive manner. The artists occupy different parts of the gardens, assimilating its spirit in order to blend in. Then, in a more intimate setting, a string quartet and the performers come together for a final celebration of life.<\/p>\n
\n(2016), marking the 15th anniversary of the contemporary dance troupe Mocean Dance (Halifax).<\/p>\n