Pitch session: new works and projects
The Pitch Session is an activity that allows artistic companies selected by a jury to share information about a new project or a work in progress with the artists, agents and presenters taking part in the CINARS Biennale. The selected companies are currently looking for partners to develop a new work, a new production or an artistic or financial partnership.
L'orchestre d'hommes-orchestres (LODHO)
In TOMATES (working title), performers isolate themselves in a space behind closed doors and swear to never get out. This project is an undisciplined opera that takes place in two parts. The first part uses a live camera feed to set the focus of the piece by following each performer’s occupation, linking them to the audience, and embodying the intermediary between the performers. In the second part, the performers leave the occupied space but remain present through video – these images will have been covertly captured in the audience during Part I, thus revealing new points of view of the first part.
Direction, diffusion et communications
The three artists are inspired by common themes and similar characters between Japanese and First Nations’ traditions and mythology. They chose to write and design a mythological tale based on the encounter between the various cultures explored. DREAMS appeared to them as an ideal vehicle for change, allowing the main characters to adapt to new roles and lives. Dreams also allow for a wide choice in the use of puppets, shadow theatre, masks and other techniques. Dreams is being developed in collaboration with local school children in Longueuil and Montreal, the Innu community in Mashteuiatsh, a First Nations reserve in the Saguenay-Lac-Saint-Jean region of Quebec, and Canadian and American artists.
Diffusion et développement de marchés
THE NONEXISTENT is the company’s latest project in development. Geared at young audiences, the production deals with borders of all kind. Some borders tear people apart or take away people’s identity while others keep us safe or are a source of conflict. Some borders we try to cross at all costs and others we take down to reach others. The play is meant to be an open forum to speak out and challenge the international political changes impacting our lives, our own personal limits and borders. The project is the 3rd production on the migration phenomenon after I on the sky (2011) and Inner Migrant (2015).
Directeur artistique et général
Les Deux Mondes
THINGS THAT MAKE MY HEART BEAT (working title) Things That Make My Heart Beat (working title) is a play for young audiences developed by writer Sébastien Harrisson and stage director Daniel Meilleur, in collaboration with visual artist Manon de Pauw and dancer Pierre-Marc Ouellette. Combining theatre and digital arts, the show explores various aspects of childhood, from learning to transformation. Inspired by the Sei Shonagon’s haikus, Things That Make My Heart Beat will be a collection of brief visual portrayals and will resume with the traditional poetry of the image, full of finesse and delicacy, which made the international reputation of Deux Mondes.
Modérateur : Pierre Antoine Lafon Simard
Directeur artistique et codirecteur général / Artistic Director and Co-executive Director
Théâtre du Trillium
Pierre Antoine Lafon Simard is Artistic Director and Co-executive Director at Théâtre du Trillium. After graduating from the Theatre Department of the University of Ottawa, the Conservatoire d’art dramatique de Québec and the National Theatre School of Canada, Pierre Antoine directed many plays such as Taram, which dwells in the work of the artist Marjolaine Beauchamp, Anne-Marie White's Déluge, and Les Mains de Jonathan, co-produced by Théâtre du Trillium and Théâtre La Rubrique. Pierre Antoine was also Assistant Artistic Director at Usine C in Montreal until 2016.
Artistic Director, Choreographer
SEISMOLOGY unravels the threads of colonial narrative around power, the settlement of spaces and the resulting effects on our climate, all held in a morphing theatrical space of melting, erosion and debris. Within Seismology, this manifests in multiple subversive capacities: an aerial act becomes a means for discussing climate change denial, knife throwing becomes both a violent and precise action of aggression as well as the Anthropocene’s “golden spike”. Audiences are asked to help construct and deconstruct set pieces, create music and noise, light and shadow. All the elements work to create a complex multiplicity of experiences that again and again reframes the performance.
Co-directeur artistique et chorégraphe
Groupe RUBBERBANDance Group
THE BAUMANN PROJECT researches the possibilities of a complete collaboration between various art forms. The themes of identity, origin, homeland, and home are explored through movement, text, and visual art - a dismantable and reconstructible piece with an edgy original score inspired by traditional Mexican music. The performance addresses the delicious challenges of working within the scenic architecture proposed by visual artist Sylvain Baumann and the composition of musician Jasper Gahunia. The creators involved are deeply engaged in a dialog with Victor Quijada who dwells here in a kind of nostalgia in order to push the limits of his own choreographic language.
THE VENUS PROJECT is a living archive, conversation and performance which in each context and setting facilitate a critical space to examine, discuss and reinterpret voyeurism and representation of the black female body. THE VENUS PROJECT connects to current conversations on race, gender, sexuality, and voyeurism in the media. From Hottentot Venus to Bootylicious – the female body, specifically, the black female body belongs to the spectators. The Venus Project will travel to countries as: South Africa, Tanzania and Uganda and discuss this specific content. We strive to investigate the global black experience as well as the specific female perspective.
STRAINER is raw stage art with neck-breaking dance, impassioned acrobatics and whipping soft music, all focused around a universal theme in an ever-changing scenography. We follow a Man, a Woman and a Stranger on their journey through society and its social conventions. Through loneliness, freedom and work, they filter their way toward dreams of relationships, community and success. Since the cognitive revolution 70,000 years ago, the complexity of human societies has grown exponentially. STRAINER explores how our brains, still very similar to those of our ancestors in the cognitive revolution, are constantly sifting other people’s behaviour through a sieve of our own expectations – and the consequences, when this process becomes too strained.