Dance Preview 2021

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The great Louise Lecavalier opens the season at the new Usine C with the very demanding Stations, a solo of physical states at the frontiers of intimacy, briefly presented as part of the FTA. Lecavalier at her best. Sept. 17-25 In Camille Lacelle-Wilsey’s Come a Bit Closer, four naked bodies and a musician frolic in a garden full of plastic sheets, as if there was no climate change. At the Wilder, Sept. 23-26.

Sébastien Provencher presents a new version of Children of ­Chemistry for 12 performers, inspired by the stereotypes of women and men in popular culture. Catch it in the window of building 2-22, located in the Quartier des spectacles. Free outdoor event,
Sept. 24-26.

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Caroline Laurin-Beaucage adapts her flagship project Habiter sa mémoire into a 24-hour solo choreographic marathon, inviting eight women of different generations to take turns performing a in a cube placed on the Esplanade of Place des Arts. A vocal archive of impressions completes the performance. Free outdoor event,
Oct. 1-3.

Interested by the pandemic, Sylvain Émard imagines preludes to his next performance-event Rhapsodie, body games that use current distancing constraints. Prélude #1 – Le Cercle and Prélude #2 – Le Carré are performed by some 20 dancers. Free outdoor events,
Oct. 2 and 3.

Raul Huaman wonders how body cells transform during trauma. Hoor and Mayar reveal the story of a grandmother on the brink of death and the care of a granddaughter. The double bill Cellules and Hanging will be presented at the Wilder. Oct. 2-5.

Alexandra “Spicey” Landé directs eight street dancers and questions our individual and collective responsibility in La Probabilité du Néant. At Théâtre Maisonneuve, Oct. 5-9.

Mélanie Demers’s La Goddam voie lactée is a pagan and protest mass marked by the #MeToo movement. Featuring Stacey Désilier, Brianna Lombardo, Chi Long, Léa Noblet Di Ziranaldi and composer Frannie Holder. A must-see. Oct. 6-9.

Usine C is dedicating a retrospective to the works of Daina Ashbee, whose work scrutinizes the memory of the flesh of Indigenous peoples. The pieces Unrelated (2014), Pour (2016) and When the ice melts, will we drink the water? (2016) are complemented by the Canadian premiere of the solo Laborious Song (2020). Oct. 19-24.

Loosely inspired by the myth of Persephone, Alan Lake’s ­L’effritement des parades is a rich symbolist odyssey. At Cinquième Salle, Oct. 19-23.

Originally from Japan, motivated by her desire to explore her ­personal history through calligraphy, Shion Skye Carter presents Residuals (住み・墨). Jean-François Boisvenue transposes his episodes of depersonalization and derealization into movement in Nyctophobiab. The double program will be presented at the Wilder. October 23-26.

Josiane Bernier and Nicolas Cantin mix performance and installation in Catapulte. When art becomes a metaphorical demonstration. Oct. 25, 26 and 29.

Who mixes the ingredients in our dream kitchen? According to Lina Cruz, it’s the Morphs. Oct. 27-30.


BJM celebrates its 50th anniversary with Vanishing Melodies, an ­impressionistic tableau choreographed by Anne Plamondon and ­Juliano Nunes, directed by Eric Jean. With the 14 performers of the company, an actress, and supported by the amazing music of Patrick Watson. At the Théâtre Maisonneuve, Nov. 2-6.

In Géante, Gabrielle Surprenant-Lacasse talks about her feeling gigantic. The Collectif Bregma brings Structures affectives, an approach based on the permeability of disciplines. The double bill will be ­presented at the Wilder. Nov. 11-14.

After the cause (excerpt) by Rachelle Bourget explores the themes of shame and the deconstruction of beauty. Accompanied on stage by musician and singer Moe Clark, Luz : Dentelle ( Luz: Lace) is intended as an act of healing for assaulted, murdered and missing women. The double bill runs at the Wilder Nov. 20-23

With Efer (Ashes) Israel’s Emily Gualtieri, David Albert-Toth and their seven performers explore the theme of loss and the ­transformative power of grief. At the Cinquième Salle, Nov. 16-20.

Mélanie Demers was inspired by the mystery of Angelique Willkie for Confession Publique, a solo about secrecy as a rebellion against the display of social networks. With music by Frannie Holder.
Nov. 29-Dec. 4.


For its third appearance at Danse Danse, Ballet BC presents Ballet BC – Programme triple. Bedroom Folk, choreographed by Sharon Eyal and Gai Behar, a duo trained at Batsheva Dance, is an intense work punctuated by the electronic impulses of Ori Lichtik’s house music. Created in 2016 for Nederlands Dans Theater by the empress of dance theater Crystal Pite, The Statement explores the dark depths of human nature and pokes fun at the power games of board meetings. With a new score by Owen Belton. Garden by Medhi Walerski, the recently appointed francophile artistic director of Ballet BC, is a bouquet of melancholic dances inspired by Camille Saint-Saëns’s Quintet in A minor Op. 14. At the Théâtre Maisonneuve, Dec. 1-4.

Julia B. Laperrière and Sébastien Provencher offer and perform What will come, an allegory on the obsession of categorization.
Dec. 2-5.

Dance Marie Chouinard revisits Le sacre du printemps (The Rite of Spring), a fundamental work in harmony with her own organic ­gestures. This Stravinsky ballet is a classic must-see.

Dec. 8 – December 11.       

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