Photo: Jacques Nadeau Le Devoir
In “The one and the other,” Esther Rousseau-Morin and Sylvain Lafortune form a duo turned tight, which brings to the stage a variety of reports of strength : physical, symbolic, social, metaphorical.
Esther Rousseau-Morin and Sylvain Lafortune, one knows especially the careers of the performers. Here cochorégraphes of one another, a duo turned tight. Based on the work of partner, the worn, the transfer of weight and the gyration, the creation speaks in the aftermath, whether she likes it or not, of relationship, of power relations — a purely physical, symbolic, social, metaphorical — of abandonment, of control. And of torque.
On the ground, a black circle reflective as ice, mirror, and night trace the small arena in the center of which rotates intimately, like in a music box, like an eternal slow, this couple. The lighting by Marc Parent, that have the finesse to play both effects, and subtleties, turning around them, imposing here a against the day, revealing the color of the skin, tracing finally a large shadow chinese. Music by Antoine Berthiaume, who forgets in the long to be forgotten, creates a loop of hypnotic. Everything here is spinning wheel.
Transferor gently weight, Esther Rousseau-Morin is slowly changing position. It is found much more often than him on one leg, more focused, on half-pointe, in short, dependent. The body, rotating, melting, rising, sculpt, still in the swing, in the fine tuned dancers, in a care certain. The scene lasts. Flashes of other towers, way in skating, overprint sometimes. The whole matter : variations to a distance, or to sequence glissando where worn very anchored to the floor flow from one to the other at great speed — one of the most significant moments, because the more singular, of one another.
Esther Rousseau-Morin here takes on a beautiful interiority and depth, as an interpreter, despite a report from the ground, which is strong light, especially in the face of that, very anchored, her partner Sylvain Lafortune.
Under this frame, a few problems dance. First, the recurrent, the staging of gyration in a traditional configuration, almost Italian. For a Twist (Rachid Ouramdane) that manages to take the viewer into the energy whirling, how Altered Native’s Say Yes To Another Excess — Twerk (François Chaignaud and Cecilia Bengolea) or of one another, where the delicacy of the work of the towers, and here the duo, is crushed and flattened by the frontality of the report stage-room ? The spatiality same to one another was, it seems, to a real stage-arena, and to a public asked a lot closer to the performers.
This loss of detail of the work is that the images take on more value. However, despite the desire of choreographers to work the parity of the reports, the images of the couple on display — which include energy, dramatic scenes and costumes (color and bare skin for her, black and long sleeves for him) — are a conventionnalisme heartbreaking, views and reviews.
It is an old couple speaks to one another, a romantic couple and yet enticing — the warm welcome of the public on the evening of the second, in fact, faith. This does not prevent some of the images produced — it is bardassée violently like a doll ; his dependence on him is clearly predominant in the show — which ravissaient in the 1990s, which have delighted even other generations in the early works of Virginie Brunelle, to now be too much at odds with the social discourse post #MoiAussi to not be shocking. The artists have the responsibility of the images they make up, they are painted, consciously or unconsciously, as symbolic that may arise. One another therefore offers the paradox of being a piece that is both honest and a conventionnalisme which cannot be passed over in silence.
One the other
A choreography by and with Sylvain Lafortune and Esther Rousseau-Morin Presented by Danse Danse at Place des Arts until October 20