18 p_r_a_c_t_i_c_e_s

Andrew Turner

Show postponed to a later date. Keep an eye out!

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 surgingly fluid and deeply dis-coordinated, 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.

Thea Patterson, Amélie Rajotte, Anne Thériault dramaturgical advisors
David Drury sound
Paul Chambers lighting

This project has centered around a collection of eighteen diversely-textured ‘practices’, some strictly dance-related and others arising out of a scattering of odd quasi-obsessions of mine – from speaking (and singing) in reverse to light-saber 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 startlingly subversive version at a time when I was re-evaluating my own habitual conception of masculinity and virility – two notions that are frequently and unfortunately fused together.  Odysseus presents an early Western blueprint for some of the unquestioned, ambiently problematic notions of masculinity prevalent today. An avid childhood reader of the myth myself, I believe my own masculine ‘understructure’ emerged, in part, in response to those swashbuckling tales of a ‘warrior-king’ and ‘noble wander’ on his 10-year return from the Trojan War. Wilson’s Odysseus more questionable and far less heroic: a failed captain, arriving to Ithaca alone having led his crew to their deaths; anti-social and adulterous; 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 the poem. The archaeological metaphor of the ‘palimpsest’ has been our guide: ancient texts, scraped clean from parchments to make room for newer documents, but which remain visible underneath. The piece therefore seeks to explore the complex, layered traces of narratives and behaviours existing under the seemingly stable “I”.

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, Benoit 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 (OQAJ, 2008) and the Office Québec Wallonie-Bruxelles pour la jeunesse (OQWBJ, 2009), and Les Entrées en Scène Loto-Québec (2010). In 2015 he was a recipient of the DanceWEB Europe Scholarship at Impulstanz Vienna. He was an invited choreographer at the Banff Center for the Arts and Creativity (2016), as well as at Théatre Sévellin 36 in Lausanne (2018). He has choreographed commissioned works for ODD (2014) and the School of Dance, (Ottawa, 2016). He is currently completing his Master’s Degree in Choreography at l’Université du Québec à Montréal.

Andrew Turner  © Julie Artacho

coproduction Danse-Cité & Andrew Turner

Andrew Turner receives support from Circuit-Est centre
chorégraphique (Montréal), Théatre Sévelin 36 (Lausanne, Suisse),
Tangente (Montréal), Stable (Montréal), Milvus Artistic Research Center
(Knislinge, Suède), Salon58 (Marsoui, Québec).

financial support
Canada Council for the Arts, Conseil des arts et des lettres du Québec, Conseil des arts de Montréal

header photo: Andrew Turner  © Julie Artacho

La Chapelle Scènes Contemporaines
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Unfortunately, the venue is not wheelchair accessible.