Document 1

12 Mei/Mai/May 21:00
13 Mei/Mai/May 22:00
14 Mei/Mai/May 18:00
Duur/Durée/Duration: 1:10
Europese première/Première européenne/European première

Anything can provide inspiration to form a movement of the body. Nothing is imagined or created. Choreographer Lynda Gaudreau from Quebec is an inspired collector. From everyday simple movements that she sees and fragments of dances that she admires by other choreographers, she has brought together the elements that make up her new creation Document 1. She quotes from them or transforms them. It is the first part of her ‘personal encyclopaedia' which looks initially at movements for hands, arms and feet. It is a proposition of well-spaced out and playful ‘definitions'.

Regie, choreografie/Direction artistique, chorégraphie/Artistic direction, choreography: Lynda Gaudreau

Dansers/Danseurs/Dancers: Sarah Doucet, Mark Eden-Towle, Sophie Janssens, Sarah Stoker
Gastkunstenaar/Artiste invité/Guest artist: Benoît Lachambre
Licht/Eclairage/Lighting: Lucie Bazzo
Muziek/Musique/Music: Rober Racine, piano (1999)
Kostuums/Costumes: Lynda Gaudreau, Carmen Alie, Denis Lavoie
Choreografiefragmenten van/Chorégraphie intégrée de/Integrated choreography pieces from: Jonathan Burrows, Hands (video, 1995); Meg Stuart and Damaged Goods, No Longer Readymade (excerpts, 1993); Benoît Lachambre, Solo à la hanche (1999)
Choreografische rekwisieten van/Accessoires chorégraphiques de/Choreographic props from: Daniel Larrieu, Feutre (1999)
Interviews van/Entretiens intégrés de/Integrated interviews of: Barbara De Coninck; Jérôme Bel
Repetitoren/Répétitrices/Rehearsal directors: AnneBruce Falconer, France Roy
Originele videografie/Réalisation vidéographique originale/Original videography (1999): Marlene Millar, Philip Szporer, Lynda Gaudreau
Videografie/Réalisation vidéographique/Videography Hands (1995): A Dance film by Jonathan Burrows, Adam Roberts and Mateo Fargion
Muziek/Musique/Music Hands: Mateo Fargion
Muziek/Musique/Music No Longer Readymade (excerpts, 1993): Hahn Rowe
Uitgeleend met toestemming van/Prêtée avec l'aimable autorisation de/Used with kind permission from: The Arts Council of England

Productie rekwisieten/Réalisation des décors/Props production: Manoeuvre Montréal

Klanktechnieker/Ingénieur du son/Sound engineer: Dino Giancola
Technisch directeur/Directrice technique/Technical director: Sandrine Beauchamp
Productieassistent/Assistant de production/Production assistant: Mark Eden-Towle
Productie/Production: Compagnie De Brune (Montréal)
Coproductie/Coproduction: Festival international de nouvelle danse (Montréal), the National Arts Centre (Ottawa)
Project partners/Partenaires du projet: Théâtre de la Ville (Longueuil, Québec), Centre chorégraphique national de Tours (France)
Lynda Gaudreau was in residentie bij de studio's van La La La Human Steps gedurende het seizoen 1998 - 1999/Lynda Gaudreau était artiste en résidence aux studios de La La La Human Steps pour la saison 1998 - 1999/Lynda Gaudreau was Artist in Residence at the studios of La La La Human Steps during the 1998 - 1999 season

Dank aan/Remerciements/Acknowledgments: Charmaine LeBlanc, Julia Carruthers, Jonathan Burrows, Jérôme Bel, Barbara De Coninck, David Metcalfe, BBC, Lattitude Nord and Armand Vachon.
Lynda Gaudreau dankt de dansers en Mark Eden-Towle en Sarah Doucet voor hun hulp bij het creatieproces/Lynda Gaudreau remercie les danseurs ainsi que Mark Eden-Towle et Sarah Doucet de leur assistance au processus de création/Lynda Gaudreau would like to thank the dancers and Mark Eden-Towle and Sarah Doucet for their assistance in the creative process

Presentatie/Présentation/Presentation: KunstenFESTIVALdesArts
Compagnie De Brune krijgt financiële steun van/reçoit l'aide financière de/receives the financial assistance of: The Canada Council for the Arts, le Conseil des arts et des lettres du Québec, le Ministère de la Culture et des Communications du Québec, le Conseil des arts de la Communauté urbaine de Montréal, le Conseil régional de développement de l'île de Montréal.

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"I feel like I'm caught up in a silent experience of the world. Only the art of dance enables me to find the ‘words' to enter the movement of life. It gives me a way of existing in the eyes of others."

"And then you just keep going..." are the final words in the piece, like an invitation to carry on. Entitled Document 1, the piece comprises the first pages in Lynda Gaudreau's Encyclopoedia where she has sketched out a collection of movements for hands, arms and feet. It is the beginning of a project that will take her many more years to complete. « I love archives. My father was fascinated by time and collected all kinds of encyclopaedia. I'm fanatical about libraries and, whenever I'm in a new place, always visit them - like other people visit churches. They reassure me. They contain traces of yesterday and how we have got to where we are today. I like tools for writing - the feel of wood, a pencil and some paper make me happy. »

A native of Quebec, Lynda Gaudreau is an unusual figure in choreography in Montreal because she opted for abstract ideas when others, cut off in Quebec, preferred a representation of identity. Described as an anatomist and an architect of the human body, this young woman combined studies in history of art and philosophy with modern ballet and classical dance in Montreal. She was drawn towards the studios of Edouard Lock (La La La Human Steps), where she spent a year as artist in residence, and to Belgium's Klapstuk, which she treated as home from 1992 to 1997. Dans In Kortrijk equally welcomed Gaudreau to their studios where she is preparing Document 2 ( the second part of her Encyclopoedia).

In Leuven she created Construction, then captivated by the ancient headless and armless statues found in the Louvre's Greek Gallery, she created Anatomie. She is interested in anything to do with the body's movement. "It's not exactly the body which interests me. It's movement, thought and life. People who are involved in art," she smiles, "are there to try to give their life meaning. Simple, everyday things can become an extraordinary source of creation. There's no need to be rich or very talented; it's enough to have confidence in what affects us."

Fascinated by the mundane being so full of potential, she put aside scenery and costumes in Still Life (1996) to concentrate on the body. She moulded the body's anatomy, focusing on how the body articulates and twists and seeking out the trembling of tautened muscles. Her rigorous search exuded sensuality. A vitalist and conscientious with it, she then undertook to archive systematically the collection of small movements she encounters every day and in the performances of her contemporaries. Far from Montreal, she found people on a similar wavelength in Jérôme Bel, Meg Stuart and Jonathan Burrows. "There was no one to be found in the snowy wastes of Canada! But there are so many people working on the same themes, asking the same questions, in their own part of the world. I want to meet them."

This is how her project to create a small, personal encyclopaedia came about. « People often blame themselves for not understanding contemporary dance, and yet the same public can handle abstract painting or sculpture without any difficulty. They can accept the composition of a bouquet of flowers, the lines and angles in the design of a pair of pliers, a vice, a pulley or an anvil, and the path taken by a yarn of wool, guided by the knitter's hands around the needles, to create a sweater. » She was amused and impressed by Diderot and Alembert's massive project to create a universal encyclopaedia during the Age of Enlightenment and by their desire to make all knowledge accessible to everyone. So Lynda has decided to show the public the origins of her dance in a series of anecdotes with dancers simultaneously showing how this works in practice.

Lynda has begun by choreographing three parts of the body: hands, arms and feet. Like a dictionary, she lists her "personal definitions", adding quotations from other contemporary choreographers. "I collect certain bits of dances that I like, then ask the choreographers if they will lend them to me." She invents movements in response to their suggestions. She lightens things on stage by showing images filmed outside - people jogging or children playing in the parks of Montreal. It is like an illustrated dictionary.

Composer Robert Racine had performed his Pages-Miroirs (1980-1994) in Montreal, a visual and musical work created from the French dictionary, Le Petit Robert. Lynda asked him to compose the music for hand, arm and foot in Document 1. For each definition he has pursued the octave's syllables of do, ray, me, fa, so, la, ti and the key of C, transcribing the succession of notes he discovered onto sheets of music and composing a score for piano.

Document 1 has been created. The audience will be the first to read it, offered a layout that is crafted by the choreographer with lightness, the fruit of danced definitions, quotations of sound and vision and windows onto life. « I don't want to be a writer that much. I like to invite other writers to work with me. This piece is bigger than me because it is the sum of all the artists involved in it. »

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