Vie et mort de l’élégance is a speeded-up portrait of the effect of time on our ways of being together, of the alteration that our encouters and relationships are suffering from. It is a dive head first into the torn varnish of appearances.
The piece won the silver medal at the VIIe Jeux de la Francophonie, in septembre 2013, Nice, France and will be presented on the occasion of Les danses de mai – opus 2019 by the graduating students of l’École de danse contemporaine de Montréal at Tangente Danse from May 22 to 25, 2019.
Choreographer : Marie Béland
Dancers : Claudelle Bilodeau, Joannie Deschâtelets, Anabel Gagnon, Simon Gélinas Beauregard, Marie-France Jacques, Nicolas Labelle, Laurie-Anne Langis, Alexia Martel
Dancers for the premiere : Claudelle Bilodeau, Alexandre Fleurent, Anabel Gagnon, Marie-France Jacques, Josia Laberge, Laurie-Anne Langis, Alexia Martel, Louis-Elyan Martin Music : Vanessa Sorce-Lévesque
Lights : Stéphane Ménigot Costumes : Angela Rassenti
Costumes for the premiere : Louis Hudon
Rehersal director : Hélène Leclair Length : 25 minutes Premiere : May 24th, 2012 at Maison de la culture Frontenac, Montréal, Canada maribé – sors de ce corps would like to thank l’École de danse contemporaine de Montréal.
Photos of Luc Lavergne
Photos taken by Patrimoine canadien at the Jeux de la Francophonie, Nice France, 2013
THE CREATION TEAM
Alexandre Fleurent / performer collaborator
Alexandre Fleurent is primarily involved in the arts through a leisure training in dance and theatre. In 2012, at the age of 22, Alexandre graduated from the Montreal School of Contemporary Dance. Through the diverse choreographic material he touches, he can finally assume the breadth and volume of his body in relation to space. During his training, he has the opportunity to dive into the world of dance theatre where he can deepen the authenticity and refinement of his interpretation. Since graduating, Alexandre has worked with choreographers who exploit this more theatrical aspect of dance, notably with Sasha Ivanochko and Marie Béland. In addition to his involvement in various emerging choreographic work, he is also an interpreter for the company La Grande Fente, directed by Isabelle Boulanger.
Alexia Martel completed her training at L’École de danse contemporaine de Montréal (EDCMTL) in May 2012. Through the school, Alexia has been able to immerse herself in the choreographic worlds of creators from here and abroad, including Marie Béland, Marie Chouinard, Daniel Léveillé and Lise Vachon, who will particularly influence her vision of dance. In parallel to her training, Alexia is interested in theatre and the way in which theatre and dance enter into symbiosis. As an interpreter, Alexia currently works with Isabelle Boulanger (La grande fente) and Patricia Gagnon.
ANABEL GAGNON découvre la danse contemporaine à l’âge de 18 ans et, avec curiosité et passion, elle entreprend ses études au Collège Montmorency (QC) d’où elle sera diplômée en 2009. À cette meme année, elle est récipiendaire de la bourse du département de danse.
Elle poursuit sa formation supérieure à L’école de danse contemporaine de Montréal (QC) et obtient son diplôme en 2012. Son parcours sera ponctué de collaborations riches et révélatrices auprès de plusieurs maîtres de renoms, tels que Bernard Martin, Manuel Roque, Marc Boivin, Dana Gingras, Ami Schulman et plusieurs autres. Se révèle une soif insatiable d’apprentissages et une curiosité toujours plus grande à l’égard du mouvement.
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.
Born in St-Bruno, Quebec, Canada, Claudelle Bilodeau was born at an early age into a lifestyle that could almost be described as nomadic. Very quickly, she developed a great curiosity and an openness to the world. Her taste for travel is revealed, in part because she has the chance to discover the city of Buenos Aires and live there for two years.
Although she has always shown a great interest in dance, it is only in her teens that she tastes it more regularly. She then undertook a DEC in Sciences Humaines profil Monde at the Cégep du Vieux Montréal, where she was also part of the Exit 505 troupe (at the time directed by Jean-Pierre Mondor). Seeing that her love for dance continued to grow, she decided to undertake a training to become a dancer in contemporary dance at L’École de danse contemporaine de Montréal, where she graduated in the spring of 2012.
During her career, she participated in several creations with different choreographers: Marc Boivin, Marie Béland, Julia Sasso, Réal Bossé, Audrey Bergeron and Sacha Ivanochko. With the latter, she has the opportunity to participate in Duet, a piece that particularly marks her. She also has the chance to dance several repertoire pieces such as Le crépuscule des océans (by Daniel Léveillé) adapted by Sophie Corriveau, les 24 Préludes de Chopin, a piece taken from the repertoire of Marie Chouinard and adapted by Isabelle Poirier, and Joe and Rodolphe by Jean-Pierre Perreault, adapted by Ginelle Chagnon.
Upstream of this, Claudelle follows throughout his training, courses of Body Mime (Omnibus), theatre (Marie-Josée Gauthier) as well as dance improvisation (Imprudanses.)
Joanie Deschâtelets discovers contemporary dance through the dance program of the Cégep de Drummondville and then decides to continue his training at L’école de danse contemporaine de Montréal. Upon completing her studies, she will perform for Lucie Grégoire in the play À ciel ouvert for FTA 2011. Interested in multidisciplinary art, in spring 2011, she initiated a film project combining 2D animation and dance with the cartoonist Pascal Laquerre. In the same vein, she participated in a film project directed by Jean Ranger in collaboration with the SAT.
She has been enthusiastically involved in La Grande Fente/ Isabelle Boulanger projects since June 2011. Thanks to her playful and radiant personality as well as her singular red-haired hair, she was drafted to take on a role in the play Vie et mort de l’élégance (2012) by choreographer Marie Béland.
Graduate from LADMMI, the school of contemporary dance, her experiences have greatly stimulated her, among others, the repertoire of Crystal Pite, Marie Chouinard and Jean-Pierre Perreault. Upon leaving school, she was hired as a dancer-designer for Sasha Ivanochko and as an interpreter for Marie Béland. In addition to her deep desire to dance, she decides to go to India for three months to learn Kalarippayattu and yoga, which will lead her to push her physical limits while awakening her spirituality. This will give him the chance to expand his vision of the world to be fulfilled and invested as a human being in his community.
Louis-Elyan Martin is from France, he studied English Literature and History at the University of Bristol in England and the University of New South Wales in Australia and obtained his Master’s degree in 2008 at the University of Aix-Marseille. Wanting to pursue his passion for contemporary dance, which he discovered at the Centre Chorégraphique de Haute Provence Celine Faure, he dropped out of his studies and began training in contemporary dance in 2008 at Concordia University, Montreal, Canada. He continued his training at the École de danse contemporaine de Montréal and graduated in 2012. In 2009, he studied at Danièle Desnoyers’ Le Carré des Lombes during the Springboard Danse Montréal. In 2011, he was introduced to the GaGa technique alongside the Batsheva Dance Company of Ohad Naharin in Tel Aviv, Israel, and developed a special interest in this gesture. Throughout his artistic development he approached dance theatre and performance art which he particularly liked. In August 2012, he joined the company O’Vertigo. He works with young choreographers such as Patrick Lloyd Brennan and Claudia Chan Tak. In 2012, during his training at the Montreal School of Contemporary Dance, he joined the cast of Marie Béland’s Vie et Mort de l’élégance.
In 2008, Marie-France Jacques completed a double DEC in Danse and Sc.Humaines at the Cégep de Drummondville, QC, Canada. Caught up in the love of movement, she decided to devote herself to contemporary dance. She studied briefly at the School of Dance in Ottawa, Ont, Canada, and then attended an internship at the Centre chorégraphique Le Pacifique in Grenoble (France). She returned to Montreal to continue her training as an interpreter at LADMMI, the School of Contemporary Dance, which she completed in the spring of 2012. She is trained by Marc Boivin, Sophie Corriveau, Jamie Wright, Andrew L. Harwood, Amy Shulman and Anne Lebeau. During her training, she participated in creative projects with Lise Vachon, Réal Bossé and the company. Bande Interdite, and works on pieces from the repertoire of Daniel Léveillé, Marie Chouinard and Jean-Pierre Perreault. In addition to being realized through interpretation and representation, Marie-France is interested in creation, theatre, literature and is passionate about soul and body experiences.
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.
Born in Montreal, Quebec (Canada), Simon Gélinas Beauregard is primarily interested in film and visual arts. Passionate about martial arts, his interest in the moving body led him gradually towards contemporary dance until he obtained a DEC in dance at Collège Montmorency in Laval, then a DEC in dance-interpretation at the École de Danse Contemporaine de Montréal (EDCMTL) in 2013.In the fall of 2012, her training led her to participate in the transposition of Jean-Sébastien Lourdais’ Trois Peaux with Montréal Danse and also to collaborate with choreographers such as Harold Rhéaume, Chanti Wadge, Pierre Lecours and Emmanuel Jouthe. In May 2013, he also took over Danièle Desnoyers’ Devouring the Sky as part of his training. In June 2013, he presented at the Festival Saint-Ambroise FRINGE 2013 Bella Bestia, a choreography created in partnership with Elizabeth Suich. In the summer of 2013, he began a collaboration with choreographer Marie Béland for the FLY project as well as Vie et mort de l’élégance, which will be presented in France in September 2013. Simon is also involved in several projects within the EDCMTL Incubator Project as well as Passerelle 840 at the UQAM Piscine-Théâtre, whether as a dancer, choreographer, consultant or technician. He wants to explore how different movement arts such as dance and martial arts can feed each other and how they can bring a new body consciousness to our daily lives. He is also interested in the link between dance, lighting and new technologies.