After several years of absence from Montreal stages, choreographer Hofesh Shechter is back for a double evening with the pieces Clowns and TheFix, one repertoire and the other new. The poignant choreographer brings us all the violence of humanity by coating it with sarcasm and humor. Thereafter, he bandages the open wounds with softness and fluidity.
Although it was created 4 years ago now, the piece Clowns always comes to seize us. With his characteristic gestures, Hofesh Shechter transports us to a show within the show itself. Its 10 virtuoso performers embody appearance, magnify the features of the stage, which ultimately is only a retransmission of our daily lives. With humour, Clowns smile while questioning. To what extent is violence now part of everyday life? Why does it continue to be trivialized? The wacky work plays on stage clichés while multiplying acts of violence. Always in joy and good humor. Moments of celebration and communion embrace the end of life.
On the stage, the Israeli-born choreographer unveils an architecture of lights that passes from shadow to light, from the theatrical and grotesque red curtain to the angry bodies that take shape in the dark. The music, composed by the choreographer himself, bewitches and lulls the heart. Both encompassing and reassuring, it also weighs like an infinity, as if the nightmare of this violent reality will never end.
The strength of Hofesh Shechter lies in the strength of the group, which is constantly on stage. Few solo moments, little floor work as we are used to seeing in contemporary dance. But it is far from being a weakness. Quite the contrary. The displacements are almost constant and create sub-scenes in the space, assiduously lighting up the viewer’s curious gaze. The uniqueness and organicity of the movements are very contagious. It makes you want to dance with the group.
The creator draws in the bodies the subtlety of his subject, without resorting to grimaces. The performers sculpt the space, both in bewitching roundness and in scintillating details. Both firmly anchored to the ground and light as air, the dancers display fluid and mobile gestures that can stop in an instant, so that a small gesture, which may seem trivial, becomes a state of the body in itself. . A nod of the head makes all the difference at Shechter. Finger movements, discreet muscle spasms. He doesn’t need to add any.
Back to simplicity
For the second part of the evening, Hofesh Shechter develops a different vision of his universe. With The Fix, he goes elsewhere. More classic in its form at the start, in particular as regards the group movements, fluid and unoriginal, it nevertheless ends up finding its first loves. The bodies bounce back again, while keeping a stronger group spirit. A passion still a little present, but diffused in fluidity.
Here, the choreographer wanted to reassure, to embrace the public with a gentleness, a humanity that is good to see. Appearance fades with regard to feeling. A depth settles and life is linked. Although imagined before the pandemic, The Fix now takes on a whole new meaning. Against the theatrical violence of Clownsthis piece plays more on the effect of the whirlwind where the performers offer themselves all in voluptuousness and simplicity.
Although a little wiser, the second piece still warms the heart and retains the unique imprint of Hofesh Shechter: to be where you least expect it.