Katya Montaignac and Nadège Grebmeier: the dance, outside of the spectacular

Katya Montaignac et Nadège Grebmeier: la danse, hors du spectaculaire

Photo: Marie-France Coallier The Duty

The dancer Katya Montaignac is associated with the visual artist and performer Nadège Grebmeier Forget to co-lead the “sit down”, a totally new project.

Beauty, entertainment, emotion. Here’s the labels off-putting that we stick still to the works of dance to make cultural products. And if we are allowed to dance out of the commodification of the performing arts and show himself otherwise than in the form of a finished product serving as an escape from the real ?

Implemented by the dancer Katya Montaignac, sitting around a table is an object that is atypical close of the trial of choreography that makes telescope gestures, dance, speeches, images, plastics and fragments of text. True to the spirit of the company of overflowing the dance of its executives usual, the main thinking head of The 2nd Door to the Left is associated with the visual artist and performer Nadège Grebmeier Forget to co-lead this new project and developed on the long-term.

The two artistic directors and their collaborators — Emma-Kate Guimond, Hanako Hoshimi-Caines and Véronique Hudon — have drawn on a series of seminars conducted over two years at the Agora de la danse. A framework where artists and the luggage multidisciplinary were able to put their ideas on the table and think around a basic question : “what is the dance product (on the other) ? “By engaging in the exercise of thinking out of the dance, each participant has left its trace in the process of creation ; where the attendance was ghostly and quotes gifs that will tint the performance of the five women.

A formula parallel

“What interested me originally, it was to imagine the format of the dance show in a more comprehensive manner and look at the dance of prisms and different, and expanded,” says Ms. Montaignac. In dance, we tend to repeat certain patterns. At The 2nd Door on the Left, we have always worked with us to reflect on these habits, to change and to change the terms of reception of the works. Our bet was to put the situation of sharing our practices and rituals in the upstream of the creation and let the public be a witness. “

It is not attached to the idea of smoothing and polishing a show. For us, the work goes beyond the time of the performance. It is both an extension and a record of our exchanges and of our relationships, that we wanted to make visible in different forms.

— Katya Montaignac

In the unravelling of the device to the Italian and the black box, the creators have imagined a device more pliable, close to the gallery and adopting the form of a 5 to 7. It is to thwart the codes common to the show, to suggest a type of relationship more engaging between spectator and performer, and to highlight what is usually published of the creation to make a show : “It was not attached to the idea of smoothing and polishing a show. For us, the work goes beyond the time of the performance. It is both an extension and a record of our exchanges and of our relationships, that we wanted to make visible in different forms. “

Assume the dissensus

“We are in a world that moves super fast and produces a lot. One of the themes that recurred in our research was the ethics of “care,” and take care of it. It is, thus, allowed us to take the time to explore without the creation of a work becomes an end in itself, ” says Nadège Grebmeier Forget, that the working class transforms fundamentally the approach and raises new issues of shared responsibility. By their position, the artists fall in voltage with respect to the modes of operation and production requirements of the institution that hosts them. The idea of resistance, one of the main sub-topics of their research, thus fits to the shape of the test danced.

Katya Montaignac et Nadège Grebmeier: la danse, hors du spectaculaire

Photo: Marie-France Coallier The Duty

“It is true that this project is for us a way to resist, even if we’re all very suspicious of this term, because it is a bit overused and almost fashionable. As artists, resist-t-one yet today ? If yes, how ? “asks Katya Montaignac, pointing out that the term “resistance” is increasingly being used to advance marketing. Preferring instead to dismiss the claim of the resistance by the arts of their discourse, the two accomplices have wanted to deal with this issue by extending to our contemporary society. Reflections delivered on this point go beyond the artistic practices and also extend to the personal sphere : “We know that the art community is very surproductif, but even in our personal lives, we find different degrees of this same imperative of self-transcendence, duty, doubly appear, to shine, to be present and visible. “

Throughout this collective process has emerged the need to leave questions unanswered and does not seek any consensus, but on the contrary, let it resonate dissent from the diversity of points of view of participants in the seminars. This plurality is a point that is the director past The 2nd Door to the Left, because for her, the more voices, the more the work becomes to show the different ways a glimpse into the creation and begin the movement.

Sit down

Creation and performance : Katya Montaignac, Nadège Grebmeier Forget, Emma-Kate Guimond, Hanako Hoshimi-Caines and Véronique Hudon. Presented by Agora de la danse. The building Wilder – Dance Space, December 5 to 8.

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