BLEU – VERT – ROUGE is a triptych. Three pieces. Blue. Green. Red. Like three parts of the same thought, three facets of the same cube. One spoken in upper case letters, one in lower case; one is a kaleidoscope. Three pieces that refer one to the other, like three ways of perceiving our modes of being together. Being together, we could say, is a perfect context for contagion. We are constantly surrounded by the images and words of others; and suddenly, without noticing, your gestures become mine, my words become yours. We become contaminated, and in turn we contaminate. The Images and words of others are the stage set of our lives. But do they manage to fill our blanks?
– marie b.
A rising star on the Quebec contemporary dance scene, Marie Béland is renowned for the sweet madness of her imagination and her ironic, eccentric approach that plunges the audience into skillfully orchestrated games of perception. The title refers not only to the three light waves perceived by the eye and the three colour signals of the cathode-ray screen, but also to three different lighting plans for a given performance and three possible interpretations of a single work. The choreographer mingles disciplines as she combines video, humour, ingenious strokes of inspiration, repurposed objects and the musicality of languages. Under cover of a seeming lightness, Marie Béland and her three dancer accomplices question with intelligence how words and images influence our bodies and leave a lasting trace.
– Agora de la danse
Artistic director and choreographer : Marie Béland Dancers and creative collaborators : Simon-Xavier Lefebvre, Marilyne St-Sauveur et Ashlea Watkin Sound design and manipulations : Steve Lalonde Design and video production : L E M M Dramaturgy and direction of repetitions : Sophie Michaud et Anne Thériault Artistic advisors : Olivier Ducas et Francis Monty Light designer : Yan Lee Chan Set and costume designer : Angela Rassenti Technical direction of projection : Érik Palardy Voice advisor : Suzanna Hood Production director : Nicolas Labelle Promotionnal photos : Martin Flamand Length : 65 minutes Premiere : 23 janvier 2013 à l’Agora de la danse, Montréal, Canada maribé – sors de ce corps would like to thank the Conseil des arts de Montréal, the Conseil des arts et des lettres du Québec, the Conseil des Arts du Canada, the Cirque du Soleil, the Salle Pauline-Julien, the Maison de la culture de Trois-Rivières, the Maison de la culture Frontenac, the Maison de la culture du Plateau-Mont-Royal, the Maison de la culture Villeray-Saint-Michel-Parc-Extension, Emploi-Québec and l’Agora de la danse for their support.
EXCERPTS OF THE SHOW
VIDEO PRODUCED BY ACCÈS CULTURE DURING THE RESIDENCIES AT THE MAISONS DE LA CULTURE – FALL 2012
Photos of Mathieu Doyon taken during l’Agora de la danse’s premiere
Photos of Nicolas Labelle taken during rehearsal
Photos of Ruben Hernandez taken in studio (December 2012)
THE CREATION TEAM
Angela Rassenti / conceptrice de costumes
Angela Rassenti trained in scenography at the National Theatre School of Canada. Since 2008, she has been designing sets and costumes mainly in theatre and contemporary dance. This is not her first collaboration with maribé – sors de ce corps; in 2013 she designed the costumes and accessories for the creations; BLEU – VERT – ROUGE and Vie et mort de l’élégance. Among her most recent works, a costume design in March 2014 with Amélie Rajotte for her creation Carnaval for Tangente, at Studio Hydro Québec, a costume design for Plus Vrai by Sarah Bild with Danse Cité during fall 2013, and a scenography for Scrap by Mathieu Leroux with the Neos Futuristes at Espace Libre in 2012.
A singular creator and performer, Anne Thériault has been weaving collaborations with artists from multiple backgrounds for more than ten years: with composer Martin Messier, she co-created Derrière le rideau, il fait peut-être nuit (FTA 2011) and Con grazia (FTA 2016) ; the performance Doux (Actoral 2016) with visual artist Julie Favreau, and with the company BOP, Quatuor pour la fin du temps (OFFTA 2017) alongside Karina Champoux, Frédéric Tavernini and Dave St-Pierre. In particular, she approached the theatre on the occasion of Ainsi parlait… by Frédérick Gravel & Étienne Lepage, and La Fureur de ce que je pense by Marie Brassard. She is a founding member of Lorganisme, a structure for choreographers. She is also an associate artist at Usine C, where she recently presented her latest opus: Récital (FTA 2018). Currently, Anne Thériault is working on new research projects, collaborating with several artists as an artistic advisor and is invited to curate the COMPAGNONNAGE 21 event by Danièle Desnoyers/Le Carré des Lombes, which takes place in winter 2021. The artist is invited for a period of 3 years, as a researcher at L’L, an experimental research structure in the living arts, located in Brussels.
Ashlea Watkin is a graduate of Grant MacEwan College and Concordia University. A chameleon performer, she has appeared for several years in the worlds of several choreographers in Montreal, including Nicolas Cantin, Dana Michel, Dorian Nuskind-Oder, and Michael Montanaro. A protean artist, loving the shock of encounters, she weaves from project to project a deep artistic collaboration with Nicolas Cantin. We see her in particular in Belle manière and Mygale and will be of her next creation. In addition to developing a growing interest in her practice of axis Syllabus, Ashlea develops her own choreographic work. His new project, linked to Studio 303, will see his first draft during a residency at Mains d’oeuvres in Paris. Widening the spectrum of her interests and curious other media, she regularly collaborates with Director Thibaut Duverneix on her video installation works and short films.
Graduated in 1997 of the National Theatre School of Canada, Francis Monty is a master of theatre. The staging, the clownesque play, the puppet and his many writing projects intersect. In 1999, he founded the Théâtre de la Pire Espèce with Olivier Ducas and has shared it since artistic direction. Co-creator of the company’s shows, we could see him in his latest creation, Petit bonhomme en papier carbone, of which he is the author, director and performer. As a playwright, his works have been presented in Canada, Brazil and Europe: Par les temps qui rouillent, Déclownestration, Traces de cloune, Léon le nul, Ernest T. and Romances et karaoké, which earned him the Masque du texte original at the Soirée des Masques 2005.
A video and installation artist, L E M M has developed a practice combining media arts and performance. As a video designer, he has collaborated since 2003 on the creation of a dozen dance and theatre works for the Montreal stage, including Assoiffés, by Wajdi Mouawad, directed by Benoît Vermeulen for the Théâtre Le Clou. He is currently developing a video monoband for a new orchestral piece by composer Tim Brady, which will be performed by the Orchestre symphonique de Québec during the Mois Multi in Québec City in March 2013. In 2012, he completed his Cyberarts/Intermedia degree at Concordia University and began his personal media performance practice.
A graduated of the Cégep de Saint-Laurent and Université du Québec à Montréal, Marilyne St-Sauveur danced in the works of Marie-Julie Asselin, Marie Béland, Lynda Gaudreau, Frédérick Gravel, Emmanuel Jouthe, OSEZ! /Karine Ledoyen, Dean Makarenko, Andrew Tay and Katie Ward. These projects have taken her everywhere on the Quebec and Canadian stages, but also in the United States, France, England and Belgium. Marilyne has taught dance at UQAM, Collège Montmorency and has taught at the Dance Department of Cégep de Saint-Laurent since 2004. She also works as rehearsal coach in dance and theatre. Thanks to her Ageless Grace certification, she shares her dance with seniors with the company Danse Carpe Diem.
Nicolas Labelle / Performer and production director
Suite à des études en théâtre, Nicolas Labelle s’initie à la danse en 2001. Ces expériences le poussent à poursuivre sa formation professionnelle en danse à LADMMI, l’école de danse contemporaine, qu’il termine en 2009. À la fin de ses études, il intègre la compagnie Bouge de là dirigé par Hélène Langevin, et participe à la création de L’Atelier qu’il continue à danser à travers le Canada. En 2010, il participe, en tant qu’interprète professionnel, à l’événement Le très grand continental concocté par le chorégraphe Sylvain Émard, dans le le cadre du Festival TransAmériques. Il est également de la distribution de la pièce Le carnaval des animaux ( pas selon Saint-Saëns ) de Manon Oligny. En 2011, il se joint à l’équipe du NTE pour la création de Ronfard nu devant son miroir une pièce de théâtre écrite et mise en scène par Daniel Brière et Évelyne de la Chenelière assisté par Estelle Clareton à la chorégraphie. Il danse également dans la production du Cirque du Soleil à Québec, Les chemins invisibles : Le royaume de tôle sous le direction chorégraphique de Harold Rhéaume. Au cours des dernières années, il participe à divers projets chorégraphiques de la relève, parmi lesquels : Pharmakon de Menka Nagrani, L’Âmentation de Ghislaine Doté, Aller simple de Dominique Thomas et Attributs de Raphaëlle Perreault. Il fait également partie des Imprudanses, la ligue d’impro-mouvement. En juillet 2012, Nicolas a la chance de participer au stageDeltebre Dansa en Espagne, grâce à l’obtention d’une bourse de perfectionnement au CALQ.
Olivier Ducas studied interpretation at the National Theatre School of Canada. From his decisive meeting with Francis Monty, in 1999, the Theatre of the Worst Species was born and they jointly assume the artistic direction. Author, actor, director and manipulator within the company, Ducas is co-creator of the shows of the Theatre of the Worst Species which presents them in Canada, Europe, Mexico and Brazil. In 2008, he wrote and directed Roland (the winner’s truth), a play for teenagers, inspired by Roland’s Song. In addition to his creative activities, Ducas also teaches objects to professionals, theatre teachers and students.
Simon-Xavier Lefebvre has always been prone to sports hyperactivity and developed an interest in movement and space from his first contact with martial arts. In his early twenties, when he was completing his undergraduate degree in biology, his thoughts were still rooted in the rehearsal studio. He decided to turn definitively towards dance following a meeting with Daniel Léveillé. After a year of study at the École de danse contemporaine de Montréal, he was invited into the creative process of Un peu de tendresse, bordel de merde by Dave St-Pierre. To date, there have been numerous collaborations: Marie Béland, Andrew Turner, Anne Thériault, Virginie Brunelle, Sasha Kleinplatz, Estelle Clareton, Pierre Lecours, Hélène Blackburn, Estelle Clareton, Martin Messier, Milan Gervais, Frédérick Gravel and Parts & Labour. Simon-Xavier has also appeared on stage for some theatre projects, notably with Éric Jean, Mani Soleymanlou and Jérémie Niel. In 2020, Simon-Xavier participated in the revival of La vie attend (Parts and Labour), and was part of the touring team for Some Hope for the Bastards (DLD/Frédérick Gravel).
Sophie Michaud began her dance career in the early 1980s. After exploring dance through the means of interpretation and choreography, she made her own the profession of «repeater». By juxtaposing graduate studies (UQAM) and praxis, she deepened her reflection on the role she plays alongside choreographers and dancers. For more than 20 years now, she has worked as an artistic advisor, choreography assistant, rehearsal director and mentor. His main engagements include long collaborations with the companies Cas Public, Manon fait de la danse, Sinha Danse, Corpuscule Danse and Bouge de là. In addition, he collaborated with Lucie Grégoire Danse, Fabrication Danse, maribé – sors de ce corps, Caroline-Laurin Beaucage and Catherine Gaudet, to name a few. At UQAM, she has assisted several teachers and has accompanied many students in their creative process to the baccalaureate, the master’s in dance and the doctorate in artistic practice. Since 2008, the Regroupement Québécois de la Danse has entrusted him and David Pressault with the training program for emerging choreographers. This involvement is one of the actions she favours to renew her practice and contribute to the evolution of the discipline.
Steve Lalonde est détenteur d’un DEC jazz-pop à la basse électrique du Cégep Régional de Lanaudière à Joliette, d’un baccalauréat en écriture de la musique classique et contemporaine de l’Université de Montréal où il a également étudié la musique électro-acoustique et étudié à la maîtrise en composition pour l’audiovisuel sous la direction de Robert Normandeau. Il a collaboré à la conception sonore de plusieurs pièces de théâtre, dont Scrap et La naissance de Superman écrites et mises en scène par Mathieu Leroux, le programme double Lone Star, Private Wars de James McLure dans des mises en scène de Sébastien Gauthier et Bernard Lavoie (respectivement) et Le numéro d’équilibre d’Edward Bond m.e.s. par Louis-Karl Tremblay. Il a également composé de la musique pour des courts-métrages, des projets multimédias et la télévision tout en travaillant comme sonorisateur à la pige et chef sonorisateur pour différents théâtres (Espace GO, Théâtre d’aujourd’hui, Licorne).
Yan Lee Chan is first trained in visual arts and then in theatre production, where he specializes in lighting design. Based in Montreal, he has created innovative lighting for contemporary stages for both dance and theatre. He has collaborated with several Canadian choreographers and companies such as Sonya Biernath, Marc Boivin, Lin Sneling, Andrew Harwood, Nicole Mion, Jenn Goodwin, Pamela Newell, Denise Filiatraut, Jean Frédéric Messier, Paula Vasconcelos, Sylvie Moreau, Hélène Langevin, Stéphan Gladyszewsky. This year, Yan Lee Chan has created lighting on various projects, January, a creation of Teddy Taffel, The Master of the Dew, Ondinuk company, as well as the latest creation of the Scotish Dance Theatre choreographed by Victor Quijada.