Creation, performance, and production Marilyn Daoust, Gabriel Léger-Savard
Scenography and costume design Audrée Lewka
Video design Laura-Rose R. Grenier
Music Robin Pineda Gould
Lighting design Joëlle LeBlanc
Carpentry and props Catherine FP
Sound integration Guillaume Létourneau
Sound excerpts – editing Gabriel Léger-Savard
Production management Andrée-Anne Garneau
Rehearsal direction and outside eyes Natacha Filiatrault, Anne Le Beau
Vocal coaching Mylène Mackay
Social networks and public relations Kim Benoit-Lapointe
Kurdish and Armenian Ali Ihtiyar
Sanskrit Julie Beaulieu, assisted by Mathieu Boisvert and Jonathan Voyer
Greek Anna Perreault
Friulian and Italian Nathalie Fella
Khmer Saroeun Tep
Mongolian Shurengoa Shure
Tzotzil Odilia Culej Culej, Tzotzil, native of Huixtlan, Chiapas
Shona (Bantu language of Zimbabwe) Josephine Singo
Nêhiyawêwin (Plains Cree dialect) Moe Clark, with the support of Joseph Naytowhow, elder and guardian of knowledge
Austrian Michaela Grill
Russian Volha Biazmen
English translation Helen Simard
Voices – sound excerpts The late Rémi Savard, Cathia Riopel, the late Rhéjane Dumoulin Daoust, Isabelle Harvey, Nini Bélanger, Irène Grojean (YouTube channel of «On passe à l’Acte»), Élise Bélanger, Marilyn Daoust, Gabriel Léger-Savard
Financial support Conseil des arts et des lettres du Québec and LOJIQ
Special thanks to Olivier Bastin and the entire team at l’Escaut architectures (Bruxelles); Programme d’aide aux artistes en danse du Département de danse de l’UQAM; Studio Solidaires (Diagramme Gestion Culturelle + Lucie Grégoire Danse); Thomas Payette and Gonzalo Soldi (Hub Studio); Nini Bélanger, Sylvie Pouliot, and Théâtre Aux Écuries; maison de la culture Marie-Uguay (Olivier Toutiras, Caroline Guy, and Sylvie Morin); Carrefour culturel de Notre-Dame-des-Prairies (Gino Latendresse and Marie-France Beaulieu); l’Entrepôt (Arrondissement de Lachine); Bye Bye Princesse (Mylène Mackay, Marie-Pier Labrecque, and Thomas Payette); Le Bloc.Danse; Gaspard Philippe; Alice Sanz; Chan Tep; Anahi Morales Hudon; Marie Léger; Gisèle Eva
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 began in residence at L’Escaut Architectures in Brussels, Belgium, 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.
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).