JAN 28-29: REMIX

H.S. Muller by V. Soucy

H.S. Muller by V. Soucy

Saturday, January 28th 2017, 8 p.m and Sunday January 29th 2017, 4 p.m. @ Studio 303
$10 to $20 sliding scale (cash, at the door)

In response to a growing interest in dance dramaturgy, REMIX explores how a choreography can be re-worked and re-performed to bring out new meaning, while troubling the idea of ownership through a radical sharing of material. This year, guest choreographers Aurélie Pedron and Lara Kramer will remix Crow’s Nest and Other Places She’s Gone byOlivia C. Davies and transposition byHanna Sybille Müller, respectively. Four short pieces will be presented: two originals followed by their remix.

If you are interested by the artistic process behind REMIX, watch our documentary from first edition in 2014.

Residencies offered in partnership with José Navas/Compagnie Flak.

Crow’s Nest and Other Places She’s Gone | original Olivia C. Davies | remix Aurélie Pedron

‘Crow’s Nest and Other Places She’s Gone’ is a new dance-theatre work by Olivia C. Davies, in collaboration with Coast Salish storyteller, Rosemary Georgeson. It highlights women’s stories of travel and transition and questions ideas of Home.

Olivia C. Davies is a Canadian choreographer and performer whose work focuses on the body’s dynamic ability to transmit narrative. Portraying stories of transformation in the context of contemporary Aboriginal experience, Davies often collaborates with writers, storytellers, poets and musicians to design dances that evoke the traditions of storyweaving and dramatic play. Investigating themes of transition, existential revelations and answers to the trauma, Davies draws on her mixed Métis, Anishnawbe, Welsh roots and lived experience to highlight the stories. Her works have been presented in British Columbia and Ontario since 2002. Davies formally trained at York University.

Aurélie Pedron holds a BFA in Dance from UQAM and later completed a research and creation Master degree. With her creation company Lilith & Cie, she has directed over 10 videos, presented over 14 countries in Asia, Europe, and America. Her stage work evolves around the research of invisible images. She has presented at Studio 303, SAR, Ateliers Jean-Brillant, FNC, Festival de Rue de Lachine, as well as Danse-Cité and Tangente. In 2015, she received the Découverte des Prix de la Danse de Montréal award for ENTRE. Aurélie Pedron is also curious about working with marginalised persons : RÛE et MARGE was supported by DARE DARE and INDEEP was a 10 hour performance with underprivileged youth. LA LOBA, a 12 performance series will be presented in September 2016 with Danse-Cité.

transposition | original Hanna Sybille Müller | remix Lara Kramer

“Welcome! What I do I call transposition. This is about you and me. It will take 40 minutes and I will do what I say and say what I do.” Tone, words, terms bring us into movement.
 Which sentences or words release which kinds of movements (images)?

Hanna Sybille Müller is a choreographer and a dancer. She studied dance at the Rotterdamse Dansacademie and received a diploma in media studies at the Berlin University of the Arts in 2012. From 2009 to 2013 she worked as a researcher at the excellence cluster Languages of Emotion at the Freie Universität Berlin. As a choreographer she has created numerous works that were presented internationally. As a performer she collaborated with Eva Meyer-Keller, Isabelle Schad, deufert&plischke, and s-h-i-f-t-s among others. She recently participated in the 2016 edition of the Third Floor Residency at Usine C.

Lara Kramer is the Artistic Director and Choreographer of Lara Kramer Danse, a company based in Montreal. Lara is an Oji-Cree choreographer and performer (Ojibwe and Cree) whose work is intimately linked to memory, often examining political issues surrounding Canada and First Nations Peoples. Her work has been show in Montreal, Ottawa, Peterborough, Rama, ON, Toronto, Regina, Edmonton, Banff, Vancouver and Providence, Rhode Island gaining recognition as an important Indigenous voice in Canada.

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