Stage Echoes | Until we die: the end of a world

Brigitte Bobart has created an immersive journey in which dozens of circus performers and dancers share the same space with spectators in order to live an extraordinary shared experience: the end of the world.

Posted at 9:00 a.m.

john fence

john fence
Journalism

“The end of the world, to say the least, because man adapts to everything,” defines the director and actress who met in one of the large rooms at the L’Arsenal gallery where the clinic was set up.

We get to the scene after an unnamed catastrophe, but which, according to the designer, will be the result of a war combined with a catastrophe. In short, something is not very beautiful, which means that we are now in a survival mode “in a crumbling world”.

In this grim reality imagined before the pandemic and the war in Ukraine, “No one speaks anymore, as Brigitte Poupart tells us, except for one character, the oldest of the group, who remembers the time when we were talking, but who loses his memory.” It will be performed by dancer Jeff Hall (Carbony 14, PBS Dancy, Cirque du Soleil).

Brigitte Poparte calls an ambulance sleep no more – Free adaptation of Macbeth Presented in New York in a five-story building in the Chelsea area. But unlike this show, where every scene is shown in an episode for all to see, until we die It has a beginning, middle and end.

Spectators will be free to go wherever they want to appreciate what is happening at one or another of the seven stops along the way. But each scene will only play once, so you have to be vigilant not to miss a thing. Some viewers will be randomly selected to experience additional short “secret scenes”, behind closed doors, one-on-one.

We will especially see Brazilian vertical dance artist Pia Pantogo, who searches for her son in a scene of “emotional survival” interpreted in a kitchen built while crow flies. Other artists – tapes, hand in hand, addictive dance, urban dance, etc. – Of Rwandan, Haitian and Chilean descent, among others.


PHOTO MARTIN CHAMBERLAND, PRESS

Brigitte Bobart with the performers from until we dieincluding Pia Pantogo, vertical dance therapist

“I asked them to draw on their personal stories,” says Brigitte Poupart, who used the language of circus and dance to bring this stage drama to life. “I look at what Pina Bausch has been able to do by integrating dance and theater and find it very inspiring to do something similar with the circus, which It can be turned into pure emotion.”

Try it on Luzia, of Cirque du Soleil, was crucial to her career – the show directed by Daniele Fenzi-Basca, which she took on and then completed. “I discovered a very powerful language and amazing poetic potential,” says the director, who has worked with Dave St-Pierre, among others, and orchestrated the first Unbearable nightclub.

Despite the limited budget until we dieBrigitte Poupart has the impression that she creates the show that resembles her the most.

That’s right, I’m experiencing an extraordinary moment, because I feel like I’m channeling all my passion for the first time on this show. There is also a baroque aspect to the decor, among other things, which is very similar to mine.

Brigitte Poupart

The end of the journey will take us back to the beginning of the adventure – before the disaster. At a time when everyone was celebrating with the utmost recklessness. pre loop (prefix) in short. Another way of saying: This is what awaits us if we do nothing.

Brigitte Poupart says: “What I find interesting is that artists and spectators find themselves together in the same place. Because we are all victims of what is happening now. It can hit us in the face at any time. Hence the step back, to become aware [de cette menace]. »

Alex McMahon has composed electronic music covering the various stations. “Giant Work” witnesses Brigitte Poupart, who also invited sound engineer Jacques Boucher, to make the course immersive. “There is something about electronic music that I find only in our time, that is modular, but can also be very melodic, which gives an acoustic aesthetic in keeping with the concept.”

Once the Montreal series is over, the creative team hopes to present it until we die On a tour of other big cities. On the other hand, I would like to be able to settle in a city for a certain period, a month, two months, because it is not a profitable economic model to stay only a few days. »

There is no clear parallel between the revival of the performing arts and the onset of this catastrophe, but we understand from Brigitte Poupart that the return of artists to the stage is fragile and difficult. And the places available to spread are extremely rare. Instability will not stop him from moving forward. until…

until we die. From 2 to 13 November at L’Arsenal Montreal.

Currently showing

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PHOTO EVA-MAUDE TC, SUBMITTED BY DENISE-PELLETIER THEATER

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Photo by Rubén Pineda Gold, submitted by AGORA DE LA DANSE

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