Emile Pineault © Vjosana Shkurti
OFFTA - Espace Vert

JUNE 4, 2022 - 8PM

JUNE 5, 2022 - 1PM

A co-presentation with
60 minutes

Emile Pineault


An oval stage space made of pink fabric, microphones, 2 human beings, 15 soft sculptures, noises, a soft light.

In this welcoming space where forms and relief merge, you examine these bodies-matters meet, fold, unfold, connect, invaginate, and intertwine. You are witnesses to a new division of things. Textures that are shapes. Shapes that are sounds. Objects that are beings.

The centre of the stage is your own centre. A centre that breathes. That feels. That emits light. A light that touches you ever so slightly. You need to touch in order to understand that it is better to feel than to understand.

Ideation and choreography Emile Pineault

Creation and performance Nien Tzu Weng, Emile Pineault

Created with Claudel Doucet

Set design Pénélope et Chloë

Sound design Joël Lavoie

Light design and technical director Audrée Lewka

Costume design Marie-Audrey Jacques

Text Catherine Lavoie-Marcus

Scent design Julie Simard Jones

Audience development and accessibility advisor for audiences living with visual impairments Laurie-Anne Langis

Artistic support Anne Thériault

Outside perspective Mimi Jeong, Sindri Runudde

Executive production of LA SERRE – arts vivants


With the support of Conseil des arts du Canada, Conseil des arts et des lettres du Québec, Conseil des arts de Montréal, fabrik Potsdam, as part of the Artists in residence program


Creative residencies fabrik Potsdam, Théâtre Aux Écuries, Salle Émile-Legault, Maison de la culture Notre-Dame-de-Grâce, La Chapelle Scènes Contemporaines, Kunstencentrum BUDA, Monument-National, LA SERRE – arts vivants

Through a multidisciplinary practice rooted in body-based research and performance, Emile Pineault’s work explores desire, sexualities and sensorialities. Bodies and objects mingle and become heaps of textures, shapes, sounds, vibrations, narratives and affects. He develops choreographies that oscillate between, on the one hand, messiness, clumsiness, and unruliness, and on the other hand, intense textures, exacerbated physicalities and a deep sensuality. He composes his creations like sensory poems, and uses duration and repetition to destabilize the relationship with the audience.

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