Le reste des vagues is the third part of a triptych that I initiated in 2014, when I started a personal research after having always collaborated with other artists. Research to try to find what we, human beings, hide inside of us, what we no longer see under the social varnish, which often remains invisible, indiscernible to our eyes, but which is a big part of what makes of us human beings, in all our complexity, our beauty, and our violence. Research dictated by the desire to work the form of the solo. To see what it is possible to transmit, to create with the presence of a single performer on stage: can a single body become multiple, evoke more than itself? Can it be enough for the viewer to perceive something that can make sense: images, emotions, content both reflective and intuitive? And is it possible to do so without accessories, objects, words; nothing other than a body, music, and light.

This project comes from a reflection on aging, from a desire to accept the passage of time, this invented structure that punctuates our lives. And to try to appreciate this process of transformation, these incessant changes that are the essence of this fixed-term experience that is life.

Ingrid Vallus obtains her Bachelor’s degree in Dance (performance) at UQAM in 2001. Since then, she has worked regularly with Marysole Gagnière. Their collaborations took the form of in situ proposals presented at outdoor events: États d’urgence (2010 – ATSA); Festival des Arts de Valleyfield (2005, 2006, and 2007); Les Régates de Valleyfield (2007); Les Journées de la culture en Montérégie (2003, 2004, and 2005); and a duo, La traversée du Phénix (2012). Le reste des vagues follows the solo pieces Nos ombres, created in 2015, and Féral, which was presented at Tangente in 2017. Ingrid Vallus has been a cultural worker for fifteen years.

Kim Gaboury, a.k.a. aKido, is a composer creating music on the edges of rock, electronic, and electroacoustic genres. Parallel to his work as aKido, Kim is a Canadian Screen Award-nominated music composer for films and TV series such as Inside the Mind of Leonardo, Coteau Rouge (André Forcier), and Une Vie meilleure (Cédric Kahn). In 2004, he released his first solo record PLAYTIME, followed by four other albums. He also collaborates with composer Michel Cusson on projects such as Cavalia and Unité 9. He has worked with Ingrid Vallus for many years and created the music of the show Féral presented at Tangente in 2017.

James Proudfoot received his initial theatre training in Edinburgh, Scotland, where he grew up, and has been living in Vancouver since 1993. Self-taught in the realm of dance lighting, James has contributed lighting designs for dance works to many companies, including Lola Dance, 605 Collective, Co. Erasga, Wen Wei Dance, Joe Ink, EDAM, The Contingency Plan, battery opera, Kinesis Dance, Ballet BC, Restless Productions, Holy Body Tattoo, Dumb Instrument, MACHiNE NOiSY, Anatomica, Tara Cheyenne Performance, Les Productions Figlio, Karen Jamieson, Trial & Eros, Action at a Distance, Out Innerspace, BJM, the Plastic Orchid Factory, and Justine A Chambers.

Chi Long comes from far away. Her favourite dessert is pavlova, which was created for the famous Russian ballerina Anna Pavlova. When Chi was five years old, her dream was to dance before the Queen of England, just like Pavlova. Unlike Pavlova though, she has not yet had the chance to dance for the Queen, nor has she been immortalised as a dessert. In her 25 years of career, she has danced for many choreographers, but mostly for O Vertigo Danse and Compagnie Marie Chouinard. She now works freelance and has recently worked for Mélanie Demers, Virginie Brunelle, George Stamos, and Isabelle Van Grimde.

Andrew Forster is a Montréal visual artist whose work moves in two directions: interventions in public space + installation, video installation and performance in visual art and dance venues. His past work includes a touring production of Samuel Beckett’s That Time; En Masse, a performance for 75 dancers (with choreographer Suzanne Miller); Cinéma, a multi-disciplinary performance in Place de la paix, Montréal; and Paraguayan Sea, a public text-in-architecture work (with poet Erín Moure). Recently he collaborated with Ingrid Vallus on Féral and Hanna Sybille Müller on Révolutions, two works presented at Tangente.

A woman and a man in a nebula of portraits. Swimming against the current, they trace back what has not been transmitted to them: knowledge of the sky, plants and remedies; important women who have remained invisible; and some forgotten historical facts. This new multidisciplinary creation, where dance, theatre, and video converge, aims to identify and highlight sensitive knowledge that is necessary to our evolution.

Our work is rooted in a documentary approach and a direct relationship with the public. Then, with the weight of our journey, we sway towards a succession of poetic, sometimes mystical scenes. Swapping gender attributes allows us to question symbols of strength and sensitivity, for instance by using images of the hero, the soldier, or the mother.

This creation was started in residence at L’Escaut Architectures in Brussels, Belgium, and then further developed at Le Bloc.Danse (Québec City) and at the Carrefour culturel de Notre-Dame-des-Prairies.

Marilyn Daoust is an UQAM graduate in dance performance (2011) who has received two CCA scholarships to hone her skills in Catalonia and Austria, and has also trained in Chile and Belgium. She moves in the orbits of Manon Oligny, Louise Bédard, Liliane Moussa, Daina Ashbee, projets hybris, Lucie Grégoire, and Cirque du Soleil. Marilyn also served as spokesperson for the 2017 Accès Dance Festival. In the field of theatre, she was part of the movement of plays directed by Nini Bélanger, Louis-Karl Tremblay, Benoit Vermeulen, and Florent Siaud (Toccate et Fugue by Étienne Lepage). She choreographed and was also cast in Angela Konrad’s play Last night I dreamt that somebody loved me. Marilyn co-founded For Fauve with Laurie‑Anne Langis, with the support of the CCA and the CALQ. She presented with her the piece & (ZH 2017, Tangente 2018) and À l’origine d’une bête publique (Maison de la culture du Plateau-Mont-Royal 2018).

Gabriel Léger-Savard is an actor and creator who has accumulated multiple acting experiences (radio, object theatre, bodywork, choirs, shadow theatre, street theatre) and collaborates with Théâtre du 450, Mille chevaux-vapeur, Pigeon International, La Pire Espèce, and fil rouge théâtre, among others. He has created and directed major projects such as Les postes du futur, L’épigramme – média social de rue, RAOTIHÓN:TSA – Focus sur la création contemporaine des Premières Nations, and Golden Gala. As an author, he recently received support from the CCA for the writing of his first choral theatre play, L’Amour mûr. Gabriel also acted as a dramaturge for the collective For Fauve (&, presented at ZH and Tangente, and À l’origine d’une bête publique, at the Maison de la culture du Plateau-Mont-Royal). He also works as a consultant in Nunavik to help set up an Inuk theatre company.

Robin Pineda Gould is a Montréal-based artist. He works primarily with video and sound. His work explores the social and political dimensions of presence. He thinks of image collections as pathways that can reconfigure and deconstruct our structures of desire. His moving images work has been showcased in venues such as the Canadian Center for Architecture and Montréal’s Place des Arts. He also works extensively in contemporary dance.

Since 2013, Catherine FP is a lighting designer for theatre as much as for music, circus, dance, poetry, and performance. After studying in audiovisual technologies and in Intermedia and Cyberarts at Concordia University, she designs electronic systems and makes her own lamps. She tries, as much as possible, to create lighting designs that are completely independent from the theatre and to rethink the ways we control the audiovisual parameters of a show.

Scenographer by training, torn between a Laval childhood rocked by the red light of boulevard des Laurentides and an unassumed maturity defined by too many grilled-cheese sandwiches, Audrée Lewka explores the visual and physical universe of the stage. An archaeologist by training, she is interested in the externalization of individuality and imagination through the body, space-time, and costume. In 2018, she is the costume designer for & by the collective For Fauve (Tangente). As set designer, she works on many projects, such as Parce qu’il fallait l’entendre de ta bouche (ZH 2018) and H20 Egotrip (Mois Multi 2019). As a choreographer, she creates Poneyboyz (Danses Buissonnières 2018, Tangente) and Dousse nuit (Tangente 2019).