Choregraphy : Harold Rhéaume
Premiere : janvier 1970
SHOWS AND TOURS
15 November 2019 — Marché des arts Desjardins (Sorel-Tracy)
23 February 2019 — Maison de la culture Rivières-des-Prairies (Montréal)
21 February 2019 — Maison de la culture Claude-Léveillée (Montréal)
20 February 2019 — Le Carré 150 (Victoriaville)
11 December 2018 — Centre Culturel de l’Université de Sherbrooke
6 December 2018 — Centre Culturel de Notre-Dame-de-Grâce (Montréal)
16 November 2018 — Festival Coups de théâtre (Usine C • Montréal)
21 May 2018 — Festival Coups de théâtre (Usine C • Montréal)
13-14-15 February 2018 — Théâtre de la Bordée (season 17-18 of La Rotonde)
2 February 2018 — Théâtre du Bic
Week of 19 December 2016 — Le Carré 150 (Victoriaville)
Week of 23 January to 3 February 2017 — Musée de la Civilisation de Québec
Week of 6 February 2017 — Théâtre du Bic
Week of 13 February 2017 — Maison pour la danse de Québec
Week of 1 May 2017 — Musée National des Beaux-Arts (Pavillon Pierre-Lassonde)
Week of 8 May 2017 — Notre-Dame-Des-Prairies
Week of 26 June 2017 — Centre Culturel de l’Université de Sherbrooke
Week of 17 November 2017 — Centre culturel de Notre-dame-de-Grâce (Montréal)
17-18-19 December 2017 — Technical residency at Carré 150 (Victoriaville)
The main source of inspiration for this work is the principle of the “blank script” often used as a playwriting method. This blank script is a neutral text that can be applied to any situation and that is not assigned to a particular character. For example, there might be character A and character B who can play any role as needed.
In the case of this dance work, the “blank script” is called “blank score”, that is, a dialog between two bodies or two choreographic compositions, A & B, with the duet being the fundamental form of the relationship, allowing the possibility of the encounter and its metamorphosis.
The residencies provided the opportunity for Harold Rhéaume to create those two scores. Once these scores were then passed on to the dancers, the duets formed in an improvised way. As the work evolved through the different residencies, the audiences were able to discover the way the choreographer, with help of the performers, created the movement vocabulary, passed it to the dancers and onto stage before sharing it. As a result, a series of human portraits in multiple complex assemblies where the interpreters’ interrelationship is crucial to allow the moving body to organize the space. Strong individuals in an interdependence relationship that will allow them to build, with empathy, an intuitive, listening, collectivity.
Follow the creation with photographs/videos/inspirations at
Choreographer: Harold Rhéaume
Rehearsal assistant: Ginelle Chagnon
Dancers: Jean-François Duke, Alan Lake, Fabien Piché, Eve Rousseau Cyr, Ariane Voineau, Arielle Warnke St-Pierre
Music: Vincent Roy
Lighting: Lucie Bazzo
Costumes creation: Sébastien Dionne with the collaboration of Harold Rhéaume
Costumes construction: Apparat confection créative
Technical direction: Emie Durette-Yockell
The performance lasts 60 minutes.
A PIECE BORN FROM AN INNOVATIVE PROCESS OF RESEARCH AND CREATION
P.ARTITION B.LANCHE (W.hite S.core) is a new work from the company Le fils d’Adrien danse, choreographed by Harold Rhéaume, who has been the artistic director of the company since 1999. The work is the result of a series of residencies which took place over an 18 month period, bringing together research, cultural mediation and creation in an innovative research process.
P.ARTITION B.LANCHE has its roots in an intensive residency at the Musée de la Civilisation de Québec in 2015, during the interactive exhibition REBEL BODIES.
Building on this, in a unique and innovative concept, created by Le fils d’Adrien danse, such as a series of creative residencies followed in 2016 and 2017, allowing the company to encounter many different types of audiences across the province of Quebec. This innovative approach allowed the audiences to encounter the raw material of the work as it developed and to build an awareness of the creative and interpretive processes in dance. In doing so, the audience was able to follow the evolution of the work and to contribute their questions and interventions to the final work.
This sharing approach with the audience throughout the creative process has significantly influenced nature of the work produced by the company and reflects also Harold Rhéaume’s profound desire to explore the indelible bonds between the concepts of interdependence and cooperation among beings.
Passed through by a contagious vibration that is beyond them, creators of a network of waves connecting and separating them, all six performers experiment different types of encounters, moving together forward to evolve and survive in these troubled times. In this way a work with soothing powers takes shape, celebrating the gift of self and empathy as treatments able to repair the tears done by the violence in our world.
Le fils d’Adrien danse thanks Canada Council for the Arts, the Conseil des arts et des lettres du Québec, Ville de Quebec and the Entente de développement culturel de la Ville de Québec for their precious support.