Stage echoes | Rubberband Dance: twenty years of interbreeding

Twice a month, The Press presents news from the world of theatre, circus and dance, in Montreal and Quebec.

Twenty years already that the choreographer Victor Quijada combines street dance and classical ballet within Rubberband. To mark this anniversary, the American-born Quebecer is offering the company he founded one of his most ambitious projects, Reckless Underdog.

Twelve performers will share the stage in this brand new creation which unfolds in three parts. Each part of this triptych draws on one of the sources that inspired Rubberband’s unique gestural vocabulary. Classical ballet, breakdance and contemporary dance will echo to music by Kid Koala, Chilly Gonzalez or Vlooper from Alaclair Ensemble.

Here, each part will be crossed by a distinct energy, as if the styles which shaped Victor Quijada imposed themselves by letting their essence shine through.

“For 20 years, I have been building a bridge between my experiences and my knowledge of different worlds of dance,” explains the choreographer. For Reckless Underdog, I wanted to move from the center and revisit the various influences at the heart of my practice. »

Five years after the success of the show Really gently, Victor Quijada wanted to observe the path traveled since his beginnings as a hip-hop dancer in Los Angeles nightclubs. Because his journey is not trivial. Born in the City of Angels to Mexican parents, he was immersed in hip-hop culture from an early age. His first dance lessons, he experienced them at the age of 16, in high school. A world then opened up before him.

In the 1990s, he made his classes. First with Rudy Perez, one of the fathers of the post-modern dance movement, then in New York, when he worked with the Tharp company, which mixes ballet and contemporary dance. In 2000, he landed in Montreal to complete his classical education at the Grands Ballets Canadiens.

“I needed to prove to myself that I could be a classical dancer, but also, I wanted to present my own choreography, which was possible with Les Grands Ballets. Looking back, I’m proud to realize that the courage and curiosity of hip-hop allowed me to survive in the classical world. »

Bringing two worlds together

For a long time, Victor Quijada felt torn between these two worlds, that of hip-hop dance and that of classical ballet. As if one style had to drive out the other. It was only when Rubberband was founded in 2002 that he understood that far from being a handicap, this tightness could become a strength. Result: he decided to create a language of his own.

From the beginnings of Rubberband, the choreographer questioned how to keep the essence of hip-hop as lived in the clubs of LA How to keep the relationship with the public in a more formal context? “I didn’t just want to present hip-hop on a theater stage. Something had to change, it was obvious to me. I wanted to develop a different style, a new vocabulary. »

He continues: “Like a child who takes on the genetics of both parents, Rubberband is a new proposition that has roots in different shapes and influences. It’s a unique blend. It is the energy of break which is added to the ballet, and vice versa. »

Victor Quijada still sometimes feels like he’s between two worlds — especially as an American living in Quebec. But he is healing. “I have a daughter who speaks three languages ​​at home: French, English and Spanish. I represent well what it is possible to succeed in Montreal. I wouldn’t have had the same opportunities in New York or LA. Culture is very valuable here. »

The 46-year-old artist continues to underestimate himself at times, despite the successes and awards he has won over the years. ” I’underdog of the title, it’s me. I’ve always felt a bit like that. Also, there was a time when I worked like I had nothing to lose. I was reckless. And with the show, I wink at that time. »

Also on display

All inclusive, the integral

The Théâtre La Bordée, in Quebec, presents until April 8 the complete version of this very moving documentary-show, written by author and actor François Grisé. A funny, lucid and touching play directed by Alexandre Fecteau. Theater that offers an essential reflection on the place of seniors in our society. The first version was created in 2019, at La Licorne; it was revived with new chapters at Duceppe two years later. After the performances at La Bordée, All inclusive will begin a small tour in three other cities in Quebec in April. For tickets, go to the site of the company Porte Parole.

Wollstonecraft at the Threepenny

After their fruitful collaboration for the adaptations of the Salem Witches and D’An enemy of the peoplethe author Sarah Berthiaume reunites with the director Édith Patenaude, this time at the Quat’Sous, for the creation of the play Wollstonecraft. A magically realistic work featuring a trio of artists: an author, a poet and a disillusioned actress. “And where creation will become greater than its creator…” With Ariane Castellanos, Jean-Christophe Leblanc and Ève Pressault.

From April 18 to May 16, at the Quat’Sous.

Good Good

The Théâtre Aux Écuries and Nervous Hunter present, in grand premiere, Good Good, a creation by Tamara Nguyen and Sophie Gee. With this free adaptation of Jean Genet’s classic The good ones, Sophie Gee “offers a work that deals with the complexity of Chinese identity, rage, the desire for revenge and the need to heal the wounds linked to one’s identity”, summarizes the press release. The co-author, director and performer discovered the text of Genet in 2002, during his studies. She was particularly caught up in the importance of the game of domination between the maids in the room; these two servants who revolt against their social rank represented by Madame, their boss.

From April 11 to 22, at the Théâtre Aux Écuries.

Beating Choiryou

From meetings and discussions with teenagers, two youth theater companies – Le Carrousel, in Montreal, and BRONKS, in Belgium – created the work Beating Choir. A 60-minute show that combines dance and theater, leaving plenty of room for the bodies and feverish movements of six young performers. The choreography and staging are done by Zoë Demoustier, and Marie-Ève ​​Huot is in charge of dramaturgy.

From April 14 to 23, at the Maison Théâtre. (The target audience is young people aged 12 to 17.)

Resumption of Ten Commandments by Dorothy Dix

“You couldn’t imagine a better way to reconnect with living art than the play The Ten Commandments by Dorothy Dix. In a dazzling text by Stéphanie Jasmin, Julie Le Breton possibly delivers the greatest performance of her career, ”wrote colleague Stéphanie Morin, the day after the premiere of the production, in February 2022. O happiness, the actress resumes her solo directed by Denis Marleau, in April, again at Espace Go. The text of the play is also published by Éditions Somme tout.

From April 12 to 23, at Espace Go.