18 P_R_A_C_T_I_C_E_S explores the seemingly stable “I” as a collection of odd, truncated fictions, percolating just beneath the surface. With a physicality both fluid and uncoordinated, and with a sense of humour both deliciously absurd and razor sharp, Andrew Turner probes the parts of ourselves that show up unannounced and uninvited.
Choreographer and performer:
Danse-Cité & Andrew Turner
Circuit-Est, centre chorégraphique (Montréal), Théâtre Sévelin 36 (Lausanne), Tangente (Montréal), Milvus Artistic Research Center (Knislinge), Salon 58 (Marsoui), The Stable (Montréal), La Maison de la Culture du Plateau Mont-Royal (Montréal)
Thea Patterson, Amélie Rajotte, Anne Thériault
Financial supports :
Conseil des Arts et des Lettres du Québec, Conseil des Arts du Canada
“ This project centres a collection of eighteen diversely textured practices, some strictly dance-related and others arising out of a scattering of my odd quasi-obsessions, from speaking (and singing) in reverse to light sabre spinning. Each practice is inspired by a recent translation of Homer’s Odyssey by Emily Wilson (2017), the first by a woman scholar, acclaimed for its contemporary critical perspective on this seminal myth.
I discovered Wilson’s subversive version at a time when I was re-evaluating my own conception of masculinity and virility, notions that are frequently and unfortunately fused. Odysseus presents an early Western blueprint for some of the unquestioned, problematic notions of masculinity prevalent today. An avid childhood reader of the myth, I believe my own masculine substructure emerged partly in response to those tales of a warrior king and noble wanderer on his 10-year return from the Trojan War. Wilson’s Odysseus is nuanced and far less heroic: a failed captain arriving to Ithaca alone after having led his crew to their deaths; an anti-social and adulterous man; a lying and marauding colonialist figure.
18 P_R_A_C_T_I_C_E_S is not a piece about the Odyssey, but rather a danced response to it. The archaeological metaphor of the palimpsest has guided the work: ancient texts, scraped clean to make room for newer documents but still retaining visible traces of the past. The piece seeks to explore the complex, layered traces of narratives and behaviours existing under the seemingly stable ‘I’. “ — Andrew Turner
Leaving his studies in history and philosophy, and with no prior dance training, Andrew Turner was inexplicably accepted into Concordia University‘s Contemporary Dance Department in 2001. There he discovered a passion for both creation and performance. He has performed, both in Canada and abroad, for such choreographers as Marie-Julie Asselin, Marie Béland, Deborah Dunn, Milan Gervais, André Gingras, Thierry Huard, Sasha Kleinplatz, Benoît Lachambre, Ginette Laurin, Paula de Vasconcelos, Pierre-Paul Savoie and others. As a choreographer, Andrew's creations include Duet For One Plus Digressions (2008), Now I Got Worry, (2010), A Standard of Measure, Except Not Really (2015). His work has been presented in Canada, France Belgium, the United States and Mexico. He has received awards from the Office Québec-Amériques pour la jeunesse (2008) and the Office Québec Wallonie-Bruxelles pour la jeunesse (2009), and Les Entrées en Scène Loto-Québec (2010). In 2015 he received the danceWEB Scholarship at Impulstanz in Vienna. He was an invited choreographer at the Banff Center for the Arts and Creativity (2016), as well as at Théâtre Sévellin 36 in Lausanne (2018). He has choreographed commissioned works for ODD (2014) and the School of Dance (Ottawa, 2016). He is currently completing an MA in choreography at l’Université du Québec à Montréal.