Invisible is an ode for 9 performers, a celebratory space of joyous complicity inviting audiences and performers to play, exchange and connect. Over 72 hours, the spectator is called to experience the continuum of time and nourish the work’s transformation through different interventions.
Interactive sound environment:
Conseil des arts du Canada, Conseil des arts et des lettres du Québec, Conseil des arts de Montréal
Maison pour la danse de Québec, Maison de la culture Notre-Dame-de-Grâce, Espace Marie Chouinard, LAVI – Laboratoire Arts Vivants et Interdisciplinarité, Département de danse de l'UQAM
Ariane Boulet, Rachel Harris, Emmanuel Jouthe, Abe Simon Mijnheer, Caroline Namts, Charlie Prince, Isabelle Poirier, Charles Brécard, Zoë Vos
Chantal Labonté, Hugo Dalphond
Danse-Cité, Montréal Danse, Lilith & Cie
LAVI – Laboratoire Arts Vivants et Interdisciplinarité, Département de danse de l'UQAM
Do Phan Hoi
Time becomes an architect. The dancers’ everyday lives fold into the work, and the work invites itself into the everyday lives of the spectators. A significant choice of time frame, seventy-two hours corresponds to three rotations of the earth: one day to shed habits, a second to be born again to the self and the other, and a third day to discover possibilities.
Rather than promoting a marathon mindset or a sense of exhaustion, the path of Invisible garners the power of the group to cross limits or thresholds, be they personal or collective. At the heart of the work: the sense of community formed through ritual.
With a ticket purchase, the audience member can come and return as much as they wish at any time of day or night to experience the choreography’s transformation. The nine dancers are not all always active, but at all times, at least one is there, guardian of the spiral, the dance’s motor.
In a location part way between living room, flea market and sacred space, the spectator chooses their vantage point, their interventions, and can read the dancers’ notes, speak to them on the phone (from the venue or later, from their home), play the card game, play music or simply witness.
Off the beaten path, Aurélie Pedron untethers herself from theatrical traditions and invites us to engage with reality otherwise. Bordering installation, choreography and performance, her atypical works are presented in unconventional settings, where the audience is invited to lose their bearings and give themselves over to a transformative experience.
As an artist and choreographer, Pedron is sensitive to the rare and precious states of metamorphosis offered by both art and experience. She creates perpetually renewed encounters, playing with duration and building a deep intimacy between site, performer and spectator. Unsettling expectations, she reaches out to touch the other, leaving a profound, lasting trace within them.
Spectators are both witness and participant. The artist seeks to build a connection and relation with us, even ephemeral, that allows us to circumvent what we perceive as real and evacuate the commercialization of art so that it might be re-placed at the heart of human interest.
From one work to the next, Pedron is mindfully peeling away our preconceptions of performance and the successive layers that frame our perception so that we might question the transmission of vital and physical energies surrounding us. In parallel, through her values of inclusion, sharing and mutual learning, the artist leads research and creation projects with marginalized people suffering from addiction or mental health challenges, and with blind and partially sighted people.