Feb. 21 to 25, 2022 – 9:30 a.m. to 12:30 p.m. (Mon.-Fri.)
$60 with the support of Emploi-Québec (or $455, non-eligible rate)
Open to artists of all disciplines
Language of instruction: English
Capacity: 15 people — priority for full week attendance
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By registering for a workshop, you agree to cancel your participation if you have symptoms or suspect you may have COVID-19. Please read the Participant Engagement before registering. Thank you!
Registered participants must fill this form before February 14th, as teachers will prepare the workshop based on this information: https://forms.gle/U17zwbT9UEMZGjsVA
CONTENT // A laboratory gathering dramaturges from various disciplines to exchange best practices and fundamental aspects of live-art. There is no official training in dramaturgy, skills are nurtured by people through experimentation and creation. This training will be led by Andréane Leclerc, Dana Dugan and Myriam Stéphanie Perraton-Lambert and aims at creating a space for exchange around dramaturgical tools and challenges, in an interdisciplinary perspective. It is an opportunity to acknowledge dramaturgy as an art form.
ACCESSIBILITY // Every day of the workshop, we will explore concepts, theories, philosophies, and practices with, in, and around the notion of a dramaturgical ecology and its political potential. The workshop is structure as guided discussion that facilitate exchange around and with readings and personal/professional experiences. These guided exchanges will primarily be oral, but the day-to-day structuring will be guided by the needs and temperament of the participants. The pace can easily be adapted to the participants’ needs in terms of language, neurodiversity, physical capacities, etc.
BIO // Founder of Nadere Performing Arts, Andréane Leclerc graduated from the National Circus School of Montreal in 2001. Driven by a desire to harness contortion technique as a malleable material that is capable of generating a world of sensation and imagery beyond the spectacular, she now creates her own experimental and conceptual performances – Di(x)parue (2008), Insuccube (2012), Eat Me (2013), Bath House (2013), Cherepaka (2014), Sculptural body (2014) and The Whore of Babylon (2015). In 2013, she finished a masters degree in circus dramaturgy in the Theatre department at Université du Québec à Montréal (UQAM) under the direction of Marie-Christine Lesage. Actually in a co-creation with the dancer and choreographer Dany Desjardins called Sang Bleu, Andreane has a particular interest in the scenes that pushes limits out (cabarets, Edgy Women Festival, Short and Sweet, Piss in the Pool, Salon K). She continues to interpret for choreographers and directors such as Peter James (Famille Déjantée), Angela Konrad (Variations pour une déchéance annoncée) and Theatre Republique in Denmark (The Tiger Lillies performs Hamlet, 2016). Since 2014, Andreane gives workshops around the world for circus artists: Acrobatic dialogue and Contortion technique. Recently, Andréane also offers Contortion for All that aims to demystify and undo clichés inherent to the art of contortion by introducing a strong technique and giving tools to allow movements throughout the whole spine.
Dana Dugan is a Montreal based artist-scholar, mother, performer, teacher, and dramaturg. She was a founding member of the Chicago Contemporary Circus Festival (Chicago, 2014-15) and CirqueOFF (Montreal, 2017). Currently, she is a member of Le PARC (Performance Arts Research Cluster) at the Milieux Institute for Arts, Culture and Technology (Montreal); works as research assistant for the Dramaturgical Ecologies Research Group (Montreal); and serves on the editorial board for TURBA: The Journal of Global Practices in Live Arts Curation (Montreal). Dana completed her master’s degree at Concordia University (Montreal, 2018) under fellowship as a practice-based researcher investigating her circus body as a site for cultivating critical dialogues through the concept and practice of (dis)obedience. She continues her embodied research on affirmative (dis)obedience as a doctoral student in the Humanities Interdisciplinary Program at Concordia University (Montreal), using the body as an interface with Performance Studies and Black Studies toward an ontogenerative, disruptive, transformative and affirmative politic.
+++ To honoring the complexity and tensions inherent in the work and in our different racial positionings in the current socio-political climate, I take inventory and acknowledge my positionality. My body is not neutral, and I reject the centrality of Whiteness. To do this, I must first locate my whiteness and acknowledge its inherent centeredness. As Dana, situated in this moment with my own embodied dramaturgy, I move though the world as a white, artist, lover, mother (fuck the rest!) toward queering Whiteness – to uncrown Whiteness and resist its re/production.
A graduate of the Master’s program in theater at UQAM, Myriam Stéphanie is a dramaturge. Her current research focuses on feminine choreographic, visual and textual writing. She specializes in the accompaniment of minimalist, contemplative and somatic practices, where ecology is one of the main drivers of creation. She is currently a dramaturge with the Nadère arts vivants company and the artist Mykalle Bielinski. A member of the research collective PRint (Pratiques Interartistiques et Scènes Contemporaines) and GRIAV (Groupe de recherche interdisciplinaire en arts vivants), Myriam Stéphanie is a lecturer at the École supérieure de théâtre de l’UQAM and teaches dramaturgy at the École de théâtre professionnel du Collège Lionel-Groulx. She has been a member of the editorial committee of the magazine JEU and aparté | arts vivants.