SOMEWHERE BETWEEN MAYBE SOMEWHERE BETWEEN MAYBE SOMEWHERE BETWEEN MAYBE
SOMEWHERE BETWEEN MAYBE SOMEWHERE BETWEEN MAYBE SOMEWHERE BETWEEN MAYBE
SOMEWHERE BETWEEN MAYBE
Ballroom music, but no ballroom. Twin blue turntables play one last record, crackling and humming with the fading memory of tunes. The theatre has been emptied of intent, or given over to its own. Two lone figures slip out from behind the curtained void. They dance masked, their faces as brief as emblems, their bodies a broken sign for what holds our own together. We should not be fooled by their awkwardness, their stuttering steps, their disarticulation, twitching and near-misses. For they have learned to use their bodies as if they were new to them, to catch that crack and spark of consciousness, fleeting as a firefly, between motion and what wills it. Broken virtuosos, they have grown used to ducking into the in-between, in the very nick of time. We stand in the interval. Take stock of a distance. Somewhere between maybe.
SOMEWHERE BETWEEN MAYBE
Ballroom music, but no ballroom. Twin blue turntables play one last record, crackling and humming with the fading memory of tunes. The theatre has been emptied of intent, or given over to its own. Two lone figures slip out from behind the curtained void. They dance masked, their faces as brief as emblems, their bodies a broken sign for what holds our own together. We should not be fooled by their awkwardness, their stuttering steps, their disarticulation, twitching and near-misses. For they have learned to use their bodies as if they were new to them, to catch that crack and spark of consciousness, fleeting as a firefly, between motion and what wills it. Broken virtuosos, they have grown used to ducking into the in-between, in the very nick of time. We stand in the interval. Take stock of a distance. Somewhere between maybe.
SOMEWHERE BETWEEN MAYBE
Ballroom music, but no ballroom. Twin blue turntables play one last record, crackling and humming with the fading memory of tunes. The theatre has been emptied of intent, or given over to its own. Two lone figures slip out from behind the curtained void. They dance masked, their faces as brief as emblems, their bodies a broken sign for what holds our own together. We should not be fooled by their awkwardness, their stuttering steps, their disarticulation, twitching and near-misses. For they have learned to use their bodies as if they were new to them, to catch that crack and spark of consciousness, fleeting as a firefly, between motion and what wills it. Broken virtuosos, they have grown used to ducking into the in-between, in the very nick of time. We stand in the interval. Take stock of a distance. Somewhere between maybe.
SOMEWHERE BETWEEN MAYBE
Ballroom music, but no ballroom. Twin blue turntables play one last record, crackling and humming with the fading memory of tunes. The theatre has been emptied of intent, or given over to its own. Two lone figures slip out from behind the curtained void. They dance masked, their faces as brief as emblems, their bodies a broken sign for what holds our own together. We should not be fooled by their awkwardness, their stuttering steps, their disarticulation, twitching and near-misses. For they have learned to use their bodies as if they were new to them, to catch that crack and spark of consciousness, fleeting as a firefly, between motion and what wills it. Broken virtuosos, they have grown used to ducking into the in-between, in the very nick of time. We stand in the interval. Take stock of a distance. Somewhere between maybe.
Press:
The work – in its strangeness, its timeless universe, neither real nor entirely fictional – escapes all labels we might try and stick to it.
— JEU 2015 Frédérique Doyon
Pushing the boundaries of performance, visual arts, theatre of objects, burlesque and dance, Somewhere Between Maybe innovates, stirs the pot and brings joy.
— Le Devoir 12 February 2015 Nayla Naoufal
Dana Gingras uses a particular feminine imagery to (playfully) denounce a way of understanding identity and its modes of representation – not only of women, but also, in turn, of dancers, artists and citizens in society.
— JEU 2015 Frédérique Doyon
Press:
The work – in its strangeness, its timeless universe, neither real nor entirely fictional – escapes all labels we might try and stick to it.
— JEU 2015 Frédérique Doyon
Pushing the boundaries of performance, visual arts, theatre of objects, burlesque and dance, Somewhere Between Maybe innovates, stirs the pot and brings joy.
— Le Devoir 12 February 2015 Nayla Naoufal
Dana Gingras uses a particular feminine imagery to (playfully) denounce a way of understanding identity and its modes of representation – not only of women, but also, in turn, of dancers, artists and citizens in society.
— JEU 2015 Frédérique Doyon
Press:
The work – in its strangeness, its timeless universe, neither real nor entirely fictional – escapes all labels we might try and stick to it.
— JEU 2015 Frédérique Doyon
Pushing the boundaries of performance, visual arts, theatre of objects, burlesque and dance, Somewhere Between Maybe innovates, stirs the pot and brings joy.
— Le Devoir 12 February 2015 Nayla Naoufal
Dana Gingras uses a particular feminine imagery to (playfully) denounce a way of understanding identity and its modes of representation – not only of women, but also, in turn, of dancers, artists and citizens in society.
— JEU 2015 Frédérique Doyon
Choreography and Direction:
Dana Gingras
Created with and performed by:
Sonya Stefan | Jamie Wright
Music:
The Caretaker | Roger Tellier Craig
Lights:
Mikko Hynninen
Dramaturge:
Daniel Canty
Rehearsal Director and Outside Eye:
Karine Denault
Scenography:
Simon Guilbault
Photography:
Austin Young
Promo Video:
Oswaldo Toledano | Mark Loeser | Guillaume Vallée
Photographer: Sonya Stefan
Dancers: Jamie Wright & Sonya Stefan. Photographer: Austin Young.
Dancers: Jamie Wright. Photographer: Austin Young.
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ANIMALS OF DISTINCTION ARTS SOCIETY
Montreal, Quebec
email: dana@animalsofdistinction.org
Films Distribution & Sales Agent:
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Canada
email: catherine@microclimatfilms.com
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Canada
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sarahrogersaod@gmail.com
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Acknowledgements
The generosity of our patrons, donors and funding agencies, has been, and continues to be essential to our ongoing operations, and to the creation and presentation of our work:
