SOMEWHERE BETWEEN MAYBE SOMEWHERE BETWEEN MAYBE SOMEWHERE BETWEEN MAYBE

SOMEWHERE BETWEEN MAYBE SOMEWHERE BETWEEN MAYBE SOMEWHERE BETWEEN MAYBE

SOMEWHERE BETWEEN MAYBE

Musique de bal, sans salle de bal. Deux tables tournantes bleues font jouer un dernier disque – crépitement sourd, souvenirs estompés d’airs anciens. Le théâtre a été vidé de ses intentions, ou abandonné aux siennes. Ses rideaux circonscrivent un vide, où deux figures solitaires se glissent. Elles dansent masquées, leurs visages brefs comme des emblèmes, leurs mimiques, des signes brisés de ce qui tient les nôtres ensemble. Il ne faut pas se laisser berner par leur maladresse, leurs pas hésitants, leur désarticulation, leurs spasmes et leurs à peu-près. Car elles ont appris à user de leurs corps comme s’ils étaient nouveaux, à saisir cette étincelle de la conscience, subtile comme une mouche-à-feu, qui éclate entre le mouvement et la volonté. Virtuoses rompues, elles ont appris à sauter dans l’entredeux, dans les brèches de l’action. Nous nous tenons dans l’intervalle. Considérons l’écart. Somewhere between maybe.



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?

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

Équipe:

CHORÉGRAPHIE ET DIRECTION: Dana Gingras
CRÉATION ET INTERPRÉTATION EN COLLABORATION AVEC: Sonya Stefan | Jamie Wright
MUSIQUE: The Caretaker | Roger Tellier Craig
ÉCLAIRAGES: Mikko Hynninen
DRAMATURGIE: Daniel Canty
RÉPÉTITRICE ET CONSEILLÈRE ARTISTIQUE: Karine Denault
SCÉNOGRAPHIE: Simon Guilbault
PHOTOGRAPHIE: Austin Young
VIDÉO: Oswaldo Toledano | Mark Loeser | Guillaume Vallée

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.

Somewhere Between Maybe

Photographer: Sonya Stefan

somewherebetweenmaybe1
somewherebetweenmaybe2

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

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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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