Thirty years have passed since Ginette Laurin began her choreographic adventure, founding the O Vertigo company in Montreal. A name that is a program in itself: vertigo and limits as a starting point for an energetic and relentless dance, driven by the exploration of an irresistible attraction to opposites. A unique language, rich in inventiveness, a refined and poetic writing style that Ginette Laurin has unfolded in over fifty creations from 1984 to today. Performances like La Chambre blanche (1992, recreated in 2008), En Dedans (1997), Passare (2004), awarded numerous international prizes, mark her journey and her tireless spirit toward new challenges.
Khaos, which opens Oriente Occidente 2015, is her penultimate work, born from a new encounter with technologies and the study of the relationship between sound and movement. In Khaos, as in our world, bodies must find a place. "The world is restless," explains the choreographer, "nature groans, overflows. Human beings scream, they are hungry. How can we tell all this? By continuing to dance and create, to live, to survive. Grasping chaos, to play with it and overcome it with cunning." Thus, she immerses her nine dancers in a sculpture-like space designed by Marilène Bastien, a sort of interactive reed field equipped with sound and sensory sensors that is at once a border zone, a prison, and a temporary refuge. Inside, there is frenetic effervescence. There, in the reed field, the dancers' heartbeats are amplified, their whispers reverberated, and the various noises they produce are re-proposed in a sort of human soundtrack, contrapuntally intertwined with the composition by Martin Messier. In this tumultuous place where bodies must find their space to escape the madness of the present time, Laurin calibrates a dance suspended between order and disorder, meticulously composed to give a sense of disorientation. To bring forth fears, to testify how thorny life can be, with the audacity of bodies abandoned to their intensity.
