Photo: Jacques Nadeau Le Devoir
Sylvain Lafortune, one of the specialists brought in Quebec, teaches in dance schools and professional, attended for a decade by Esther Rousseau-Morin.
When you dance with someone, in a duo, working as a partner, you have another, someone to interact with, something to bounce back, ” says the dancer and cochorégaphe of one another, Sylvain Lafortune. “Your dance is in a relationship with someone ; you are focusing more on how your actions influence and are able to move the other as your only dance ; that, and his reactions will make you move in their turn. It forms a loop, an energy that circulates. And a dance, ose-t-on think of the end of the lips, less narcissistic, more empathetic.
The work of duo is at the heart of this creation, presented at Danse Danse, which would necessarily be composed and danced in two, with Esther Rousseau-Morin. Look at the physical — weight, speed, gravity, ripple effect… of the couple.
Sylvain Lafortune is in Quebec a specialist worn. We see it happen in the schools of dance professional to teach the b. a.-ba of the transfer and receipt of weight, take-offs, the understanding of the movement and of the center of a partner. His thesis was classifying the lifts in dance ; her thesis focused on the learning of a duet.
“The duo is the form in which I thrive. It is my passion, this work of partner that I defined as any situation in which there is an exchange of forces “, he says in an interview at the Duty, alongside Esther Rousseau-Morin, who assists him in his teaching for over a decade, which is also defined as a ” tripeuse duo “. “The duo is more complex than the solo,” continues Rousseau-Morin, because you have to immediately consider the whole. You’re constantly in feedback, and it offers more possibilities. “
The duo is the form in which I thrive. It is my passion, this work of partner that I defined as any situation in which there is an exchange of forces.
— Sylvain Lafortune
The two artists, who first met as performers in fly, Estelle Clareton (2010), gathered in the studio to look and dig questions, very physical, to both. “There is no dance in this room which exists without the other,” says Rousseau-Morin. It’s not a solo, not a blow : it was always the intention to deliver, to commit, recommit. “” In my theory, smiled Lafortune, two, you forges what I call the system, which is stronger, which contains more possibilities, than the sum of its parts. “
Stop on a time
“The duo, usually, it is a time in a room, takes Lafortune, and the worn, a moment in the duo. “By focusing, stretching the time, what happens to these moments ? “Is it possible to push a worn ? Up where ? How long can it last ? And the counterweight, in the long term, that is what it becomes ? ” illustrates Lafortune. These studies, all mechanical are, they immediately raise the notions of dependence and interdependence ; power relations ; of abandonment, considered of responsibility ; management of risk. Among others.
Of the burning issues in the current social context, post-#MoiAussi. A context in which the creators were aware of it, but they did not want to be directly inspired, and that they call not on stage.
Even if they are conscious that they embody — a man and a woman on stage, her older, more beautiful — an archetype of social couple western. “Obviously, everyone is going to see a couple in it !” they say. As the duo requires a close, often intimate, that it is easy to read as love. And even though they have deliberately avoided the narrative, choosing situations that are more abstract, timeless, universal, they hope.
“There is more private space in the duo,” says Lafortune. What Rousseau-Morin penalty : “The state is the private space, what we live, every man for himself. And at the same time, it is so close to one another when we dance, there is so much empathy that I can know in what state is Sylvain. “
A hyper-vigilance towards the other student, called the two dancers, and also through the many rotations and gyrations in which they go up to vertigo. “What is it that makes the spot, purely physical, can create an evocation, a metaphor, a picture ?” question even the creators. “At the beginning, we wanted to avoid the agreed, pictures “, recalls Esther Rousseau-Morin, to finally accept the touching, the kiss, there.
“There are all kinds of reports through which it passes. Reports of force, repeat, relationships of power and influence. It’s performed. “” I can take the weight of Esther for the lift, details of Lafortune, but it can also impose its weight, and this is another strength. It is important for us to have a relationship on equal terms. I wanted to work with Esther because she is able to lift. But it has not prevented to meet the limits. “
Because the difference of weight — 55 pounds more for him than for her — and strength in the upper body of the fact ” that we don’t have the same opportunities. When Esther get up, it is necessary that the technique is flawless. It has fewer possibilities of errors “, adjustment. The opposite ? Lafortune realized that he was struggling to give up by being worn, it is not so simple to let go of the other.
“One wonders what the relationships may be, what new balance can be found in the reports of force, how we can become aware of those that exist, how to control, indicates Sylvain Lafortune. The relationship that one puts in scene looks like me, it looks like the relationships I have in my life. A relationship is work. He should make an effort. It takes a commitment, listening, generosity, attention. And there may be misunderstandings. “
Even when the works in a manner purely mechanical, purely functional.
One the other
A choreography by and with Sylvain Lafortune and Esther Rousseau-Morin. Presented by Danse Danse, Place des Arts, from 16 to 20 October.