“Over time, we always change as human beings, so our ideas, our inspirations will certainly change too,” says Kristen Céré, choreographer of the piece. Delectable imbalancemet in the studios of the Grands Ballets Canadiens a few days before the premiere.
There is no link, no interaction between the pieces offered. But there is a common experience: choreographers started the creative process before the pandemic and had to interrupt work for a while. Inevitably, projects evolved during this period.
PHOTO HUGO-SÉBASTIEN AUBERT, THE PRESS
Free movement will be in the spotlight in the program Ultraviolet Les Grands Ballets Canadiens.
“Two years ago, I may have started with a particular idea, then it evolved, explains Kristen Céré. I changed music, I changed some parts. I wanted to take another direction. For me, it is important to remain receptive to these changes. »
Originally from Montreal, the choreographer studied at the École Supérieure de Ballet before opening her wings and going to dance in Europe. For her, it is a return to Montreal. She teaches contemporary dance, but also yoga and dance adapted for the elderly or children with reduced mobility. She started choreography at a very young age.
PHOTO HUGO-SÉBASTIEN AUBERT, THE PRESS
Yui Sugawara plays a major role in Beguile.
“It’s about expressing myself, using the voice through my body, releasing emotions, telling something personal. »
For her, contemporary dance has a liberating, expressive side, which corresponds well to her personality.
When I make a creation, it’s rarely a story that I tell, it plays more on emotion. This piece is inspired by the human side: we have a dark side where we have a little more vulnerability, which we don’t want to show.
Kristen Céré, choreographer of the piece Delectable imbalance
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PHOTO HUGO-SÉBASTIEN AUBERT, THE PRESS
With SubstrateCass Mortimer Eipper draws a dystopian world.
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PHOTO HUGO-SÉBASTIEN AUBERT, THE PRESS
The room Beguileby Lesley Telford, plays on the interactions between human beings.
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PHOTO HUGO-SÉBASTIEN AUBERT, THE PRESS
Repetition of Beguile one week before the premiere
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PHOTO HUGO-SÉBASTIEN AUBERT, THE PRESS
Marija Djordjevic designed the costumes for Substrate.
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Delectable imbalance goes well with Beguile, a choreography by Lesley Telford, an artist from British Columbia who also studied at the École supérieure de danse du Québec. She explores the need for interaction and the importance of empathy.
Australian choreographer Cass Mortimer Eipper has chosen a different path with Substratean energetic piece that depicts a dystopian world, but where a little tenderness slips in, the time of an extract from Carmen by Georges Bizet.
“I wanted to create something that could intrigue and move people, that helps them think without being didactic. »
He tells how Ivan Cavallari, then artistic director of the West Australian Ballet, gave him the chance to taste choreography. Now artistic director of Les Grands Ballets, Mr. Cavallari asked him to create a piece for this company.
Cass Mortimer Eipper had some apprehensions. Classical dancers may have some difficulty adapting to the creative process in contemporary dance, a process that is not necessarily very linear. But this was not the case for the dancers of Les Grands Ballets.
PHOTO HUGO-SÉBASTIEN AUBERT, THE PRESS
Australian choreographer Cass Mortimer Eipper enjoyed working with the dancers of Les Grands Ballets Canadiens.
I had a big sigh of relief. It’s a very impressive group of dancers, they are very versatile. They have a lot of experience in contemporary dance. For me, it was very gratifying, it was a real luxury.
Cass Mortimer Eipper, choreographer of Substrate
Cass Mortimer Eipper himself has a background in classical ballet, but he quickly discovered an affinity with contemporary dance.
“Classical ballet tends to be a repertoire of aesthetically pleasing forms, and ways of transitioning from one form to another. For me, such a repertoire of forms does not exist for contemporary dance, it is rather an infinite exploration of the movements that can be created with the body. There are no limits. It’s a much bigger playing field. »
The fourth young choreographer in the program of Les Grands Ballets, the American Roddy Doble, is a lover of classical ballet. First dancer at Les Grands Ballets, he is passionate about the great roles for men found in the repertoire, as in Giselle, The Bayadere, Romeo and Juliet Or Don Quixote.
PHOTO HUGO-SÉBASTIEN AUBERT, THE PRESS
Choreographer and principal dancer Roddy Doble will present his pas de deux, titled crater.
This is how the pas de deux he created, crateris more neo-classical than contemporary.
“As I am still new to the world of choreography, I gave myself a reasonable task, with magnificent music [l’adagio du Concerto en ré mineur de Jean-Sébastien Bach d’après Alessandro Marcello], he says. Since my play is only five minutes long, there is no story as such.
“I joke that at worst, if you don’t like the piece, you can close your eyes and just listen to the music. »
However, that would be surprising. Two couples will present this pas de deux depending on the evening: Roddy Doble himself with Rachele Buriassi, then Mai Kono and Graeme Fuhrman.
Ultraviolet
Maisonneuve TheaterFrom April 27 to May 6