CHAIN REACTION CHAIN REACTION CHAIN REACTION

CHAIN REACTION CHAIN REACTION CHAIN REACTION

CHAIN REACTION

La danse, l’animation et le son s’entrechoquent dans CHAINREACTION alors que le mouvement des interprètes se juxtapose au rythme des projections animées. Un véritable jeu chronométré de serpents et échelles prenant place entre l’animation et les danseurs dans une succession interactive et incessante d’actions et de réactions.

Canada / Fiction / 12 minutes / 2014
Une production Microclimat Films

« In the playful and highly entertaining hybrid of dance and animation CHAINREACTION, a pair of dancers find themselves drawn to each other and kept apart in very creative ways. It’s very kinetic and features some spectacularly spot on dancing and choreography from Dana Gingras and Sarah Doucet to go along with some equally fast paced animation. It’s a marvellous technical achievement.
This intricate dance is a highlight among the experiment works in SCC this year ».

- Cinemablographer tiff-review-short-cuts-canada



FRONTERA

'Frontera' (border, frontier): a real or imaginary dividing line; the extreme limit of
understanding in a particular area.

In an era of aggressive nationalism and corporate mass surveillance, the human body has never been rendered so visible, subject to increasingly invasive forms of industrial-scale oversight and processing.

Borders are boundaries, but they're also processes, liminal spaces where despair, desire and neoliberal economic imperatives meet the obscure(d) operations of power. Surveillance technologies represent an advancing frontier of knowledge and control, monitoring movement, defining identities and gathering data. Increasingly, the border moves with the body, and seeks to organise and orchestrate its passage through the world.

With a light-based scenography by United Visual Artists (UVA) which articulates the dialogue between choreography, architecture and live music by Fly Pan Am and field
recordings by Godspeed’s Dave Bryant, FRONTERA's 9 dancers navigate spaces of inclusion and exclusion; their bodies mapped in high resolution, their destinies unresolved.

As the public and private realms are consumed by monitoring technologies and tests of legitimacy, what space remains for the unruly, ungovernable body?



FRONTERA

'Frontera' (border, frontier): a real or imaginary dividing line; the extreme limit of
understanding in a particular area.

In an era of aggressive nationalism and corporate mass surveillance, the human body has never been rendered so visible, subject to increasingly invasive forms of industrial-scale oversight and processing.

Borders are boundaries, but they're also processes, liminal spaces where despair, desire and neoliberal economic imperatives meet the obscure(d) operations of power. Surveillance technologies represent an advancing frontier of knowledge and control, monitoring movement, defining identities and gathering data. Increasingly, the border moves with the body, and seeks to organise and orchestrate its passage through the world.

With a light-based scenography by United Visual Artists (UVA) which articulates the
dialogue between choreography, architecture and live music by Fly Pan Am and field
recordings by Godspeed’s Dave Bryant, FRONTERA's 9 dancers navigate spaces of inclusion and exclusion; their bodies mapped in high resolution, their destinies unresolved.

As the public and private realms are consumed by monitoring technologies and tests of legitimacy, what space remains for the unruly, ungovernable body?



FRONTERA

'Frontera' (border, frontier): a real or imaginary dividing line; the extreme limit of
understanding in a particular area.

In an era of aggressive nationalism and corporate mass surveillance, the human body has never been rendered so visible, subject to increasingly invasive forms of industrial-scale oversight and processing.

Borders are boundaries, but they're also processes, liminal spaces where despair, desire and neoliberal economic imperatives meet the obscure(d) operations of power. Surveillance technologies represent an advancing frontier of knowledge and control, monitoring movement, defining identities and gathering data. Increasingly, the border moves with the body, and seeks to organise and orchestrate its passage through the world.

With a light-based scenography by United Visual Artists (UVA) which articulates the
dialogue between choreography, architecture and live music by Fly Pan Am and field
recordings by Godspeed’s Dave Bryant, FRONTERA's 9 dancers navigate spaces of inclusion and exclusion; their bodies mapped in high resolution, their destinies unresolved.

As the public and private realms are consumed by monitoring technologies and tests of legitimacy, what space remains for the unruly, ungovernable body?



FRONTERA

'Frontera' (border, frontier): a real or imaginary dividing line; the extreme limit of
understanding in a particular area.

In an era of aggressive nationalism and corporate mass surveillance, the human body has never been rendered so visible, subject to increasingly invasive forms of industrial-scale oversight and processing.

Borders are boundaries, but they're also processes, liminal spaces where despair, desire and neoliberal economic imperatives meet the obscure(d) operations of power. Surveillance technologies represent an advancing frontier of knowledge and control, monitoring movement, defining identities and gathering data. Increasingly, the border moves with the body, and seeks to organise and orchestrate its passage through the world.

With a light-based scenography by United Visual Artists (UVA) which articulates the
dialogue between choreography, architecture and live music by Fly Pan Am and field
recordings by Godspeed’s Dave Bryant, FRONTERA's 9 dancers navigate spaces of inclusion and exclusion; their bodies mapped in high resolution, their destinies unresolved.

As the public and private realms are consumed by monitoring technologies and tests of legitimacy, what space remains for the unruly, ungovernable body?

Première:
TIFF le 6 septembre 2014

Projections supplémentaires:
Festival du nouveau cinéma (Montreal)
Rendez-vous du cinéma québécois (Montreal)
Regard sur le court métrage (Saguenay)
Ottawa international Animation Festival
Tricky Woman Animation Festival
Dance Lab Nicosia (Cyprus)
EMPAC (Troy)
Musée de la civilisation (Quebec City)
Dance Films Presents at BAAD (Brooklyn)
Albertina Museum (Vienna)
St Lawrence Film Festival
ART SANS RDV (Geneva)
IX São Carlos International Videodance São Carlos (Brazil)


Premiere:
TIFF September 6th, 2014

Additional Screenings:
Festival du nouveau cinéma (Montreal)
Rendez-vous du cinéma québécois (Montreal)
Regard sur le court métrage (Saguenay)
Ottawa international Animation Festival
Tricky Woman Animation Festival
Dance Lab Nicosia (Cyprus)
EMPAC (Troy)
Musée de la civilisation (Quebec City)
Dance Films Presents at BAAD (Brooklyn)
Albertina Museum (Vienna)
St Lawrence Film Festival
ART SANS RDV (Geneva)
IX São Carlos International Videodance São Carlos (Brazil)

Premiere:
TIFF September 6th, 2014

Additional Screenings:
Festival du nouveau cinéma (Montreal)
Rendez-vous du cinéma québécois (Montreal)
Regard sur le court métrage (Saguenay)
Ottawa international Animation Festival
Tricky Woman Animation Festival
Dance Lab Nicosia (Cyprus)
EMPAC (Troy)
Musée de la civilisation (Quebec City)
Dance Films Presents at BAAD (Brooklyn)
Albertina Museum (Vienna)
St Lawrence Film Festival
ART SANS RDV (Geneva)
IX São Carlos International Videodance São Carlos (Brazil)

Équipe :
INTERPRÈTES: Sarah Doucet | Dana Gingras
CHORÉGRAPHIE ET MISE EN SCÈNE : Dana Gingras
PRODUCTION: Catherine Chagnon
ANIMATION: James Paterson | Amit Pitaru
CINÉMATOGRAPHIE: Kaveh Nabatian
MONTAGE ET ANIMATION NUMÉRIQUE: Davide Di Sarò
SON: Roger Tellier Craig | Stéphane Bergeron
MUSIQUE « BIRD »: The Knife
DISTRIBUTION: Video Femmes

Dramaturgy:
Ruth Little

Rehearsal director:
Sarah Williams

Producer & Agent:
Sarah Rogers

Creation residencies:
Centre de Création O Vertigo, Place des Arts

Developed with support from the NAC’s National Creation Fund.
Développé avec le soutien du Fonds national de création du Centre national des Arts.

CHAINREACTION_thumb

Danseurs Sarah Doucet, Dana Gingras

Chainreaction-1

Danseurs Sarah Doucet, Dana Gingras

ANIMALS OF DISTINCTION ARTS SOCIETY

Montreal, Quebec
email: dana@animalsofdistinction.org

Diffusion & vente des films :

Microclimat Films inc. / Catherine Chagnon
7539A, rue Drolet
Montréal, QC, CANADA H2R 2C6
C: 514-998-4157
catherine@microclimatfilms.com

Tournées nationale et internationales :

Sarah Rogers
6228 Av Henri Julien
Montreal QC H2S 2T8
Canada
Tél: 514 898 7215
sarahrogersaod@gmail.com

Dons :

Vous pouvez soutenir Animals of Distinction en faisant un don en ligne via CanaDon.

Vous pouvez également faire parvenir un chèque libellé à Animals of Distinction Arts Society à l’adresse suivante :

336, 1ère avenue Est, bureau 104
Vancouver (Colombie-Britannique) V5T 4R6
CANADA

Un reçu officiel aux fins d’impôts vous sera remis.

Remerciements :

Nos œuvres ne pourraient voir le jour sans le soutien constant et significatif de l’excellente équipe d’Eponymous : Jim Smith, Producteur
Jason Dubois, Directeur des opérations
Bernard Sauvé, Directeur général
Bonnie Sun, Directrice du marketing et des communications
Sharon Simpson, Assistante administrative

Nous tenons également à souligner la générosité de nos spectateurs, donateurs et subventionneurs dont le soutien demeure, à ce jour, un apport essentiel à nos activités et à la création/diffusion de nos œuvres  :

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