DOUBLE BUBBLE DOUBLE BUBBLE DOUBLE BUBBLE

DOUBLE BUBBLE DOUBLE BUBBLE DOUBLE BUBBLE

Video: Sonya Stefan

DOUBLE BUBBLE

Dans un jeu obsessif-compulsif, deux interprètes oscillent avec frénésie et extravagance entre la maîtrise et la perte de contrôle de soi. Au fur et à mesure que les éléments animés s’accumulent et remplissent l’espace sous les danseurs, certains mouvements déclenchent la dissolution de lignes et de formes, les effaçant comme on frotte une tache jusqu’à ce que la peau s’amincisse. Un processus continu d’accumulation, d’usure et d’effacement se concluant sur un espace vide.

Une présentation de Bravo!FACT.



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?

Projections antérieures :

20 février 2012 Les Rendez-vous du cinéma québécois au Cinéma ONF, Montréal, QC

7 au 10 décembre 2011, Festival international de vidéo, performance et technologies InShadow, Lisbonne, Portugal


Past Screenings:

2013, Festival De Cinéma Des Gens D’Ici, Toronto Under The Stars, TenduTV

December 7 – 11, 2011, InShadow – International Festival of Video, Performance and Technologies, Lisbon, Portugal

February 20th, 2012   Le Rendez-Vous Du Cinéma Québécois at the Cinéma ONF, Montréal QC

Past Screenings:

2013, Festival De Cinéma Des Gens D’Ici, Toronto Under The Stars, TenduTV

December 7 – 11, 2011, InShadow – International Festival of Video, Performance and Technologies, Lisbon, Portugal

February 20th, 2012   Le Rendez-Vous Du Cinéma Québécois at the Cinéma ONF, Montréal QC

Équipe :

CHORÉGRAPHIE ET RÉALISATION: Dana Gingras | William Morrison
INTERPRÉTATION: Susan Elliott | Shay Kuebler
CHORÉGRAPHIE: Dana Gingras
ANIMATION : James Paterson | Amit Pitaru
IMAGE/MONTAGE: William Morrison
MUSIQUE: Roger Tellier Craig (musique et arrangements électroniques) | Eric Fillion (batterie) | Eric Gingras (basse)
PHOTOS: Dominic Schaefer

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.

Double Bubble
Double Bubble

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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