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 Post subject: Le Cri Du Monde/Les 24 Preludes De Chopin - Marie Chouin
PostPosted: Tue Mar 26, 2002 11:55 pm 
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Location: Guildford, Surrey, UK
Article in The Evening Standard.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>It takes a lot to be described as celestial, cosmic, sacred and animal in the same breath (unless you're Kylie Minogue) but that's the feat Canadian choreographer Marie Chouinard pulled off when her most recent piece, Le Cri du Monde, opened in her native Montreal to rave reviews<HR></BLOCKQUOTE><P><A HREF="http://www.thisislondon.co.uk/dynamic/hottx/theatre/dance_review.html?in_review_id=527543&in_review_text_id=499556#playing" TARGET=_blank> <B> MORE </B> </A> <P>And a review.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Assaulting the senses has become the modus operandi of many modern dance makers. Not for them the subtle charms, and piercing undertow, of an Antony Tudor or a Frederick Ashton. Instead, they choreograph in extremis, with dancers pushed to their physical limits, their movements disjointed and their bodies stripped to the skin. The tone is angsty, the set is bare, and the music an electronic soundscape of stalling cars, slamming doors, and digital hum. <P><HR></BLOCKQUOTE><P><A HREF="http://www.thisislondon.co.uk/dynamic/hottx/theatre/dance_review.html?in_review_id=527543&in_review_text_id=500620" TARGET=_blank> <B> MORE </B> </A><p>[This message has been edited by Joanne (edited March 27, 2002).]


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 Post subject: Re: Le Cri Du Monde/Les 24 Preludes De Chopin - Marie Chouin
PostPosted: Thu Mar 28, 2002 9:54 am 
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More on <A HREF="http://www.criticaldance.com/ubb/Forum5/HTML/000110.html" TARGET=_blank>Marie Chouinard</A> in the Modern forum.<P>I agree with Sarah Frater's review, Preludes is stronger than Cri du Monde.


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 Post subject: Re: Le Cri Du Monde/Les 24 Preludes De Chopin - Marie Chouin
PostPosted: Fri Mar 29, 2002 5:34 am 
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Location: London, England; Tallinn, Estonia
<B>Compagnie Marie Chouinard</B> <BR>3 stars, The Place, London<BR>By Sanjoy Roy in The Guardian<P><BR>Marie Chouinard's two works at London's Place Theatre are at once strangely similar and strikingly different. The first piece from the Canadian choreographer, 24 Preludes by Chopin (from 1999), is a superb and wholly unexpected music visualisation that discovers an elemental force and an offbeat humour in Chopin's piano pieces a world away from their image of drawing- room civility. <P><BR><A HREF="http://www.guardian.co.uk/Archive/Article/0,4273,4384020,00.html" TARGET=_blank><B>click for more</B></A>


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 Post subject: Re: Le Cri Du Monde/Les 24 Preludes De Chopin - Marie Chouin
PostPosted: Sat Mar 30, 2002 11:51 pm 
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Review in The Observer. (please scroll down).<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Marie Chouinard's vision for her tribe of dancers is cleaner and clearer. A high priestess of Quebecois dance for the past 20 years, she has developed a distinctive style that moulds bodies into whiplash shapes. Her troupe wears a skimpy, sexy black uniform and move as though galvanised by some current. The 24 Preludes by Chopin proceeds in fits and starts and the piece is witty, disconcerting, original. <P><HR></BLOCKQUOTE><P><A HREF="http://www.observer.co.uk/review/story/0,6903,676361,00.html" TARGET=_blank> <B> MORE </B> </A>


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 Post subject: Re: Le Cri Du Monde/Les 24 Preludes De Chopin - Marie Chouin
PostPosted: Mon Apr 01, 2002 5:23 am 
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Location: london, england
Marie Chouinard obviously has something of a cult following. With her extraordinary blend of sharp witted, virtuoso choreography, frank and indignant politics, chaotic musicality and teasing voyeurism, I can see why. Her company of ten dancers, as physically sleek, strong and athletic as they were emotionally expressive and vulnerable, made the work fly, capturing the audience in a trance that teetered on the edge of delight and desperation. The two works, 24 Preludes by Chopin and Le Cri du Monde, presented at The Place Theatre on Tuesday 26th March 2002, were emotionally as well as intellectually challenging: like a lover we know we must free ourselves from in order to survive, the evening left us simultaneously satiated and yearning for more, clear in the knowledge that such intensity is unsustainable and risks pushing us over the edge. <P>Preludes opened the programme. It is a brilliant piece, with a clever title. To name something as a ‘prelude’ immediately poses the question of parametres: what does a ‘pre-lude’ pre-cede or indeed pre-scribe? Can it be complete in itself, or can it only exist with reference to something outside of itself? Chouinard toys with these questions, in a series of short powerful scenes, hung together by Chopin’s echoing piano refrains and by the dichotomic problem of containment and freedom. Like the prelude, which is at once a concentrated flavour of something bigger, and a complete entity in itself, the dancers are involved in struggles for identity. They struggle to find legitimacy as individuals, they struggle to communicate their needs to each other and to the audience, and they struggle to function in relationship to one other. <P>Though the preludes play with all possible combinations and patternings - group pieces, solos, duets, trios - all are haunted by these questions. Contact between dancers is rarely peaceful or tender, but is strong and forceful. The aggression in the duets, particularly, appears to paint a picture of mutual self-protection and blinkered independence. There is none of the measured emotional contact of the traditional pas de deux nor the mindful, appreciated reliance on the other partner’s presence and importance. It is as if the movements just happen to each individual within the pair, somehow without their consent or their active participation. A woman is lifted, thrown and held by a man, her gaze never meeting his, either consciously or just by chance. A man travels across the floor, squatting, leaning, standing, as a woman moves behind him, her fists holding his long hair in two high pigtails. We are left wondering if these individuals are helping or hindering each other, if they are pressing the other towards freedom and release, or if they are violently and manipulatively preventing its achievement. <BR> <BR>Each aspect of the visual work reinforces this dichotomy, not least the women’s costumes. Somehow the female bodies become censored in the same moment they become released. So though their black leotards are translucent, inviting in the viewer’s gaze, a stark black strip covers their genital area, like a literal deletion of their sexuality. Does the woman’s body play out her control over an audience that can be invited, tantalised and ultimately denied, or is it an admission of her lack of control, the fact that she must ultimately conceal her sexuality in order to be acceptable? <P>There is an isolated moment of pity during the piece, as powerful in its simplicity as the rest is in its vigour. Two women inhabit the stage. One tries to communicate meaning to us with nothing but the words of the do-ray-me scale in varying pitches and tempos of desperation, but is sporadically forced to move out of her centre stage spotlight and into a stony-faced crowd marching through her space. The other, physically unconnected in her own green upstage spotlight, dances her confusion and frustration in a whirling but defeated dervish. At crisis point, something cracks. The two are led from the stage quietly and tenderly by the comforting hands of two other women. Though she thrives on crisis, Chouinard is not without the sympathy for humanity to also offer resolve.<P>It is a pattern that repeats itself over and over again in the second piece Le Cri du Monde. With deafening crescendos in Louis Dufort’s original score, Le Cri du Monde falls and rises through a scale of friction, pain, desperation and release. The piece is raw and relentless, and the performers prove themselves to be not only strong, agile and beautiful dancers, but exquisite players of Chouinard’s emotional games. <P>Even before the house lights went down, the air had begun to bristle with tangible currents of excitement flooding through the audience. By the end of the programme, we were as exhausted as we were thrilled. Chouinard, French Canadian ‘Bessie’ Award winner (Canada’s answer to the Oscars), took us on a real roller-coaster ride. If she is a cult figure, I’m definitely signing up.<BR>

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 Post subject: Re: Le Cri Du Monde/Les 24 Preludes De Chopin - Marie Chouin
PostPosted: Wed Apr 03, 2002 5:11 am 
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<B>Compagnie Marie Chouinard</B><BR>by Donald Hutera<BR>Dance<BR>The Place, London <BR> <BR> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>QUIRKY is the word that best sums up the work of Marie Chouinard, two of whose dances were seen at The Place last week. The French-Canadian choreographer has a strange yet accessible style that renders much UK contemporary dance safe and conventional by comparison. <HR></BLOCKQUOTE><BR> <BR><A HREF="http://www.thetimes.co.uk/article/0,,685-255189,00.html" TARGET=_blank><B>more...</B></A>


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