I have a clear and visceral desire to put vulnerability, letting go and virtuosity in dance at the service of my artistic practice, thus opening the holistic doors of interdisciplinarity, in particular via cinema. Above all, I wish to feel at the somatic level the movement, the scenic atmosphere, the interpretation and the dramaturgy in order to enhance upwards the gestural paths of kinesthetic beingness.
I want to offer an artistic approach that is more based on intuition, heart and courage than on intellectualization. Cultivating a certain form of sacredness and spirituality is becoming more and more important within my personal practice of artistic creation. Indeed, I feel the desire to seek meaning, to discover myself artistically as well as to experience the sacred as a vehicle, as a channel for my artistic expression. An approach based in mindfulness meditation (mindfulness), rooted in the observation of the body and my sensations, guides my artistic approach. Art appears to me as the popularizing current of the spiritual par excellence and allows me to return to the introspective self. I am very interested in expressing and giving place to my queer identity within my works, the latter being a key component of my current creation, Homo Deus, a 60-minute solo for the stage.
Using the stranger, the monster present inside each of us as a device to access effectively and quickly to an authentic vulnerability interests me greatly. More recently, I have been using poetry and the idea of daily discipline a lot in my artistic process.
At the equilateral intersection between head, belly and heart, J'ai pleuré ce matin dans le métro is a bereavement, an ode to courage and a cathartic celebration of madness. This sweet state where so much beauty can emerge. You just have to give it a chance. The work came to life as part of an intensive 4-week professional integration course with 23 emerging performers. The whole thing was presented at the Maison de la culture in Verdun in July 2022 for three nights.
Performers : Charlotte Beaulieu, Hélène Belanger, Krystale Crockett, Angélyk Delisle, SanDrin Nelson-Drolet, Sophie Fournier, Megan Gaudreault, Juliette Ieva, Solène Laurin-Laliberté, Deya Lemière, Santiago López, Léo Lussier, Sarah Manipou, Ciro Melgaço, Myrtille Miroulotte, Laura Perron, Mathilde Richer, Sarah Roy, Manon Sérignat-Daléas, Johanna Simon, Jade Solis, William-Nicolas Tanguay and Saphia Weladji.
Choreography : Charles-Alexis Desgagnés in collaboration with the 23 performers.
Lighting design : Catherine Fournier-Poirier
Music and sound design : Alexis LP / Mada Mada
Rehearsal director : Janelle Hacault
Official photographer : Marie-Eve Dion
Teaser director : Vincent Rene-Lortie
Poster illustrator :Joshua Sailo
Graphic artist : Mathilde JPA
Production management, administration, ticketing management, social media and advertising management : Charles-Alexis Desgagnés
Group work of 75 minutes. Courage, mourning, beauty, cathartic.
Autonome is a solo contemporary dance short film directed by Alexandre Richard to the music of Mada Mada. Direction of photography by Graham Guertin-Santerre.
Filmic solo work of 5 minutes. Inner demons, Silence, blank page and madness.
Flying is the short film linked to the song of the same name by the famous violinist Angèle Dubeau. Directed by Alexandre Richard and cinematography by Graham Guertin-Santerre. Co-choreographed and danced with Janelle Hacault
6-minute film duo work. Violin, Relationship, Connection and Levitation.
Moving Silences is a dance work around exhaustion, impermanence, commitment, mindfulness, repetition and mathematical gradation. What holistic state would take shape in the body if the organs, the breath, the muscles, the connective tissues and the fascias were brought to complete exhaustion? Would the human machine just stop working? This short creation is interested in this small stage death, in this forced vulnerability perceptible in the space between the movements, in the performer's intercostal muscles. Navigating spirituality in what is most concrete, in the most sacred temple of all: the body.
To empty my liver,
I eat moving silences,
Solo work of 20 minutes. Indefatigability, repetition, authenticity and moonlight.
With courage and resilience as its main themes, Mue érable explore the Granthis (the three knots to untie in the yogic tradition; the knot of the belly, the knot of the heart and the knot of the head), all in an environment combining disturbing strangeness and oneirism. If you could molt like a reptile, what would you leave behind? What would result from this state of intense vulnerability? I am strongly interested in a natural, unforced simplicity on stage and vulnerability through presence constitute this authenticity in my work. At the scenographic level, the space with the white floor is covered with many pieces of colored fabrics, the latter representing the mental, emotional, physical and spiritual skins left behind by the performer. These fabrics unequivocally draw the scene via the geometric images created by the artist, allowing the space to also change and evolve. The lighting design also works in this direction, adopting a cyclical approach in terms of form and gradual in terms of intensity in terms of content. The soundtrack exists as different thumbnails each representing a new stage of the journey.
Solo work of 45 minutes adapted from the group piece of the same name. White space, colored fabrics, mutation and vulnerability.
Nobody, a creation presented in an urban setting, features Personne, a completely anonymous choreographer-interpreter-performer wearing a red jumpsuit and an evening suit. Bustling with various rituals of Buddhist-Christian influences mixing dinosaurs and maple syrup, this New Age humanoid reptile, a bit dandy, seems to have an angelic sense of humor. Or schizophrenic? It doesn't matter, that's where all its charm lies! Symbol of his time, he takes advantage of not having a face to multiply likes and selfies, while desperately seeking self-love on online dating apps.
With Nobody, Personne invites spectators to think about their own death, possibly absurd and imminent, during a ride in a bixi to a picnic with friends. How then to apprehend it with joy? This solo experiments with ardor the exacerbated impulses of life and death of the choreographer-interpreter-performer, between self-mockery and existential questions. Intrigued by the challenge of performance in an urban context, Nobody assumes its ambivalence, between flashy physicality and a powerful embodied presence that would even touch the guts of Isadora Duncan. There will be something for everyone. Especially for those who love red.
Performative solo work of 30 minutes for exterior/in situ. Pop culture, anonymity, humor and extravagance.
Work for 28 performers of different levels presented in the summer of 2018, completely self-managed. White space, colored fabrics, mutation and vulnerability.