European Comunity

2009 coproduction

Louise Lecavalier / Benoît Lachambre /
Laurent Goldring / Hahn Rowe

a creation by Benoît Lachambre, Louise Lecavalier,
Laurent Goldring, Hahn Rowe
dramaturgy: Benoît Lachambre
dancers: Benoît Lachambre, Louise Lecavalier
set design, lighting design and projection: Laurent Goldring
composer and Live Music: Hahn Rowe
costumes: Lim Seonoc
technical director: Philippe Dupeyroux
creation assistant: France Bruyère
production: Par B.L.eux
coproduction: Théâtre de la Ville, Paris ; MODAFE 2008, Seul;
Mercat de les Flors, Barcelone;
PACT Zollverein, Essen;
Festival TransAmériques, Montréal;
l'Usine C., Montréal; Fabbrica Europa

Is you me is the result of several meetings. The meeting between Benoît and Louise of course being one of them, but also the story that I wove between images and dance, a story in which I crossed paths with Benoît numerous times.

This time around, Benoît offered me to continue an experience that I had started with Mathilde Monnier: to create the space of the theatre, be that the stage, the lights and the set, with a sole projector.
The experience with Mathilde had taught me that this would mean working with the idea of a co-creation from the start and Benoît understood this immediately.
It would not be possible to conceive the dance separately from the drawn space, like the projections could not be conceived as a mere frame, neutral and welcoming.

Benoît and Louise gradually became like kinds of drawings, but animated cartoon drawings: they started playing with their third dimension, amusing themselves with getting rid of it or finding it back: to go from a state of volume to that of surface or line and vice versa.

As far as the projections are concerned, the initial direction I took gradually starting making way to the inclusion of ever more drawing. And the drawing, instead of becoming a final immobile image, started moving as well, it started to speak of its own construction, and to show how one line can give rise to another, how the gesture of drawing ressembles and differs from that of dance: I more and more started to accentuate the temporality of the stroke rather than the immobility of the form.
One of the consequences is that in drawing on a graphics palette, I needed to find a gestural quality that would allow me to construct a rhythm as much as a shape. This seems to go without saying, but it in fact goes against everything said (or rather imposed) regarding the immaterial and the virtual. 

Another simple gesture, but that nevertheless turned everything upside down, was to open up the screen and the possibility for the bodies to litterally be in the screen, in this crack between the screen in the back and the inclining stage (in itself also screen), a crack that got to be used more and more in the course of the elaboration of Is you me. 

This rematerialization, this act of immaterial computer science becoming gesture once again, also took place with regard to the work of Hahn Rowe who helped me understand what was happening. Our double presence at the borders of the stage, something that happened of its own accord, led quite naturally to a musique-drawing that developped simultaneously and at the same time as the dance. Hahn suggested narrations and rhythms that found their way almost identically into the drawing. When Bernhard Lang asked me to make a film for DW2, he told me that he had made the music for a film that did not yet exist. I have often had this very same feeling with Hahn's music, like if it ceaselessly had the generosity to first of all leave room for images.

The synergy was also underlined by the costume designer, Seonoc, who immediately reacted to this becoming-drawing of the dancers and the becoming-dance of the drawing with costumes that underlined both the physicality and the graphic quality of the presences. An important moment for me is when the yellow and green silhouettes that we constructed can do entirely without the drawing because they themselves have become drawings. (Laurent Goldring)

Louise Lecavalier
Born in Montreal, Louise Lecavalier has been a professional dancer since 1977. She joined La La La Human Steps in 1981 in Oranges and went on to perform in each of the company's productions until Salt in 1999. As the company's symbol and luminary for nearly two decades, she gave her heart and soul to her art. She embodied dance on the outer edge, performing with passion and generosity, dazzling audiences worldwide.
In May of 1999, Louise Lecavalier was awarded the Jean A. Chalmers National Award, Canada's most distinguished dance prize. In February 2003, she received a Career Grant from the Conseil des arts et des lettres du Québec. She regularly gives training sessions and master classes at dance festivals in Europe, as well as at New York University, and continues to work as a freelance dancer on new projects. In 2003, she started collaboration with choreographer Tedd Robinson, who created Cobalt rouge for her. Co-produced by the National Arts Centre (Ottawa), the Venice Biennale, and the Théâtre de la Ville (Paris), this work premiered at the National Arts Centre and was performed at the Théâtre Outremont as part of the Montreal HighLights Festival in February, 2005, as well as at the Venice Biennale in June, 2005. Following the creation of the solo piece "I" Is Memory, choreographed by Benoît Lachambre, at Festival Steps # 10 in Switzerland in May 2006, Louise has completed the creation of a solo with Canadian choreographer Crystal Pite for this year's Festival Tanz im August in Berlin. Lone Epic, "I" Is Memory, and the duet Lula and the Sailor - an excerpt from Cobalt Rouge -, are the components of the performance programme that has toured Canada, Europe (also at Fabbrica Europa '07), and Japan during the 2006-2007 season.

Benoît Lachambre
A daring and innovative artist, Benoît Lachambre has been evolving in the international dance community for more than twenty-nine years, as choreographer, dancer, improviser and teacher. After beginning his career in jazz and modern dance with such companies as Les ballets-Jazz de Montréal, Pointépiénu et Toronto Dance Theater, he went to New York where he danced and studied with Stéphanie Skura et Nina Martin, among others. Since then he has devoted himself to an exploratory approach of movement and its sources, and to seeking authenticity of motion. Working with Meg Stuart and with the European Dance Development Centre, he has continued to explore, to research releasing techniques, in his own choreographic composition and improvisation projects, and with his workshops on research, improvisation and body consciousness.
In 1996, Benoît Lachambre created his company out of a need for a platform that would provide structure for the realization of his research projects and the development of a new creative process. Thus was born Par B.L.eux : "B.L." for Benoît Lachambre, and "eux" for "them," the creative artists with whom he collaborates. The company is devoted to contemporary and interdisciplinary choreographic creation, and the close connection to an international network of artists.
Since the creation of his company, it has seen 15 new creations. By boosting his efforts to collaborate on other projects, Benoît has been part of more than twenty productions outside Par B.L. eux; he has received 25 requests for commissions, including the solo I is memory for Louise Lecavalier, which premiered in Switzerland in May 2006. He also created a solo for Marion Ballester entitled Les portes-heures de paroles, which had its premiere at the Festival des Antipodes at Le Quartz, Scène Nationale de Brest, where he was named "associate choreographer" from 2005 to 2008.
The trio Forgeries, love and other matters co-created with Meg Stuart and Hahn Rowe has been performed more than 90 times since it premiered in April 2004. His group piece Lugares Comunes has been presented in Brest, Essen, Brussels, Berlin, Montpellier, at the Théâtre de la Ville de Paris and at the Usine C in Montreal.
In May 2008, along with Louise Lecavalier, Hahn Rowe and Laurent Goldring, Benoît Lachambre presented the première of the work Is you me at the Festival Trans-Amériques in Montreal. This creation followed the première in March 2008 at Brest's Festival des Antipodes of Body Scan, Lachambre's latest group piece. The group work is programmed in March 2009 at the Centre Georges Pompidou in Paris, and during the Festival Trans-Amériques in Montreal in May that same year.

Laurent Goldring
After his studies in philosophy, Laurent Goldring developed his artistic career around the visual arts.
Polymorphous photographer, known for his video work, he approached sculpture with his series Ne pas toucher, a set of sculptures that included parts of living human bodies; art history with Lectures intitrées (a group of conferences whose title does not translate to English), and Hypothèses numérotées. In addition, he has worked for a number of years with the bodies of choreographers. Through his lens and his unique approach, he presents us with some extraordinary facets of their work. He has collaborated with Xavier Le Roy for Blut et Boredom; Self Unfinished; Jean-Michel Rabeux for Les Enfers, Carnaval; Benoît Lachambre for L'Âne et la Bouche; Saskia Hölbling for RRR; Other Features ; Maria Donata d'Urso for Pezzo O (due) and Germana Civera for Figures. Goldring the creator uses the body as an artistic instrument. His videos are never simply reproductions. The artist with whom he collaborates must relinquish his/her image, allowing other forms to arise in ways that approach the impossible.

Hahn Rowe
Composer, producer, engineer, and multi-instrumentalist Hahn Rowe has migrated freely between the rock, electronic music, improvisation and new music scenes for over 20 years. Initially working as a recording engineer and producer, he worked on projects with people such as John Zorn, Roy Ayers, Bill Laswell, The Golden Palominos, and Lamonte Young, among many others. Most notably, however, he has been known for a uniquely personal approach to the violin and guitar as a member of a wide array of musical groups.
During the mid-80's, Rowe was featured on violin and guitar with composer Glenn Branca's ensemble, touring throughout the U.S., Europe, and Japan. It was during this time that Rowe became an integral member of the group Hugo Largo with whom he worked until the early 90's. Hugo Largo released two critically acclaimed records on Brian Eno's Opal label (Warner Bros.) - Drum (produced by Michael Stipe and Hugo Largo) and Mettle (produced by Rowe). Hugo Largo toured extensively throughout the U.S. and Europe showcasing Rowe's original use of the electric violin. 
Hahn Rowe is the recipient of 3 New York Dance and Performance Awards (AKA "The Bessies") for his scores for the dance work of Margarita Guergue (We Were Never There/The Kitchen 1989), Bebe Miller (Verge/BAM 2001), Meg Stuart and Benoit Lachambre (Forgeries, love, and other matters/DTW 2006). In addition, he has contributed musical scores for John Jasperse (Madison as I imagine it) and David Dorfman (Subverse/1999).
His work with Brussels/Berlin based choreographer Meg Stuart/Damaged Goods has resulted in the creation of 4 major evening length dance/theater works - Disfigure Study, No Longer Readymade, Forgeries, Love, And Other Matters, and Replacement. Over 200 performances of these works have been performed at theaters and festivals around the globe such as Deutche Opera Berlin, Festival D'Avignon, Szene Sommerfest Salzburg, Theatre de la Ville, The Kitchen (NYC), Walker Arts Center (Minneapolis), Holland Festival, and the Edinburgh International Festival.


coproduzione 2009

Louise Lecavalier / Benoît Lachambre /
Laurent Goldring / Hahn Rowe

una creazione di Benoît Lachambre, Louise Lecavalier,
Laurent Goldring, Hahn Rowe
drammaturgia: Benoît Lachambre
interpreti: Benoît Lachambre, Louise Lecavalier
scenografia, luci e proiezioni: Laurent Goldring

compositore e musica live: Hahn Rowe
costumi: Lim Seonoc
direzione tecnica: Philippe Dupeyroux
assistente alla creazione: France Bruyère
produzione: Par B.L.eux
coproduzione: Théâtre de la Ville, Paris ; MODAFE 2008, Séoul;
Mercat de les Flors, Barcelone;
PACT Zollverein, Essen;
Festival TransAmériques, Montréal;
l'Usine C., Montréal; Fabbrica Europa

Is you me è il risultato di diversi incontri. Certamente l'incontro tra Benoît e Louise, ma anche la storia che io ho tessuto tra immagini e danza, una storia durante la quale ho incrociato diverse volte Benoît.
Questa volta Benoît mi ha proposto di proseguire con lui un'esperienza iniziata con Mathilde Monnier: creare con un unico proiettore lo spazio teatrale, ideare insieme palco, luci e scene.
L'esperienza con Mathilde mi ha insegnato che questo comporta il lavorare fin dall'inizio nell'ottica di una co-creazione e Benoît l'ha subito capito.
La danza non poteva essere concepita disgiuntamente dallo spazio e le proiezioni non potevano essere pensate come una semplice cornice neutra e accogliente.
Benoît e Louise sono così diventati progressivamente come dei disegni, disegni animati: hanno cominciato a giocare con la loro terza dimensione, divertendosi a sbarazzarsene o a ritrovarla, per passare dallo stato di volume a quello di superficie o di linea, e viceversa.

Per le proiezioni il punto di partenza si è anch'esso modificato verso un uso sempre maggiore del disegno. E il disegno invece di diventare un'immagine definita e immobile si è a sua volta messo in movimento, ha iniziato a raccontare il suo costruirsi, mostrando come un tratto ne genera un altro e come la gestualità del disegno si avvicina e si distingue da quella della danza. Così ho messo sempre più l'accento sullo svolgersi del tratto piuttosto che sull'immobilità della forma.
Nel disegno grafico ho dovuto ritrovare una gestualità che permettesse di costruire un ritmo, oltre che una forma. Questo sembrerebbe andare da sé ma in realtà apre un discorso (imposto) sull'immateriale e il virtuale.

Un altro gesto semplice, ma che ha modificato radicalmente il punto di partenza, è stata l'apertura dello schermo e la possibilità per i corpi di essere letteralmente "nello schermo", nella fessura tra lo schermo di fondo e il piano inclinato (anch'esso schermo), utilizzata sempre più nel corso dell'elaborazione di Is you me.

Questa rimaterializzazione, questo far ridivenire gesto l'immateriale informatico, si è creata anche in rapporto al lavoro di Hahn Rowe che mi ha aiutato a capire cosa accadeva. La nostra presenza ai limiti del palco ha portato naturalmente a un disegno della musica che si creava insieme alla danza. Hahn ha proposto delle narrazioni e dei ritmi che si ritrovano simili nel disegno. Quando Bernhard Lang mi chiese di fare un film per DW2 mi disse che aveva creato una musica di un film che ancora non esisteva. Ho avuto spesso questa stessa impressione con la musica di Hahn, come se questa avesse continuamente la generosità di far posto prima di tutto all'immagine.

La sinergia tra tutti gli aspetti compositivi è stata sottolineata anche dalla creatrice dei costumi, Lim Seonoc, che ha subito reagito al 'diventare-disegno' dei danzatori e al 'diventare-danza' del disegno con i suoi costumi che sottolineano la fisicità e il grafismo delle presenze. Per me uno dei momenti più importanti è diventato quello in cui le silhouettes gialle e verdi che abbiamo costruito possono fare completamente a meno del disegno, perché esse stesse sono diventate disegno. (Laurent Goldring)

Louise Lecavalier
Nata a Montréal, Louise Lecavalier è danzatrice professionista dal 1977. Nei primi anni '80 entra a far parte dei La La La Human Steps, danzando in tutte le produzioni della compagnia da Oranges del 1981 fino a Exaucé/Salt del 1999. Nel 1985 diventa la prima canadese ad aver ricevuto un Bessie Award a New York per la sua interpretazione in Businessman in the Process of Becoming an Angel (1983). Simbolo della compagnia per quasi due decenni, ha partecipato a tutte le produzioni di punta, investendo corpo e anima nella sua arte e incarnando una danza estrema, passionale e generosa. Nel maggio 1999 è stata insignita del Premio Nazionale Jean A. Chalmers, il più alto riconoscimento per la danza in Canada, assegnato per la prima volta a una danzatrice.
Nel 2003 lavora con il coreografo Tedd Robinson, che per lei e tre interpreti maschili crea Cobalt rouge, coprodotto dal Centre national des arts di Ottawa, dal Théâtre de la Ville di Parigi e dalla Biennale di Venezia.
Dopo la creazione del solo "I" Is Memory (2006), coreografato da Benoït Lachambre, Lecavalier lavora a Lone Epic, un solo della coreografa canadese Crystal Pite. Lone Epic, "I" Is Memory e Lula and the Sailor, duo estratto da Cobalt rouge, sono stati portati in tournée in un unico programma durante la stagione 2006-2007 in Canada, Giappone e Europa che è stato presentato anche a Fabbrica Europa '07.

Benoît Lachambre
Audace e innovatore, Benoît Lachambre è attivo nella scena internazionale come coreografo, interprete e insegnante dal 1978. Dopo gli esordi in jazz e in modern, si dedica all'esplorazione del movimento e delle sue fonti per ritrovarne l'autenticità. Successivamente compie ricerche in releasing, composizione coreografica e improvvisazione prima di dirigere una serie di workshop di ricerca, improvvisazione e consapevolezza del corpo.
Nel 1996 fonda la compagnia Par B.L.eux - dove " B.L. " sta per Benoît Lachambre e "eux" per gli artisti creatori a cui si associa - con la quale crea tredici lavori. Partecipa anche a numerose produzioni per altre compagnie, tra cui  Comme un chat assis au bord d'un océan de lait espérant le lécher au complet (2006) per l' Hong Keng Sen del Theater Works di Singapore, "I" is Memory (2006) per Louise Lecavalier e Les Portes-Heures de paroles (2007) per Marion Ballester.
E' stato insignito di numerosi premi, il Prix Jacqueline Lemieux del CAC  (1999), due Prix Dora Mavor Moore per la miglior interpretazione e la migliore coreografia per Délire Défait (2001), il Prix Moving pictures di Toronto per la sua interpretazione nel film Cantique#1 et #2 di Marie Chouinard (2003), e recentemente ha ricevuto un Bessie Award come miglior interprete per Forgeries, love and other matters (2006).


Laurent Goldring
Dopo studi in filosofia, Laurent Goldring ha sviluppato il suo lavoro artistico nell'ambito dell'immagine.
Fotografo poliedrico, conosciuto per il suo lavoro video, Goldring si è avvicinato alla scultura con la serie di opere intitolata Ne pas toucher. Si è occupato anche di storia dell'arte con il ciclo di conferenze Lectures intitrées e Hypothèses numérotées.
Numerose le sue collaborazioni in ambito coreografico, con Xavier Le Roy per Blut et Boredom e Self Unfinished; con Jean-Michel Rabeux per Les Enfers Carnaval; con Benoît Lachambre per L'Âne et la Bouche; con Saskia Hölbling per RRR e Other Features; con Maria Donata d'Urso per Pezzo O (due), e con Germana Civera per Figures.
Goldring utilizza il corpo come strumento artistico; le sue creazioni video non sono mai delle riproduzioni: gli artisti con cui lavora devono allontanarsi dalle sue immagini  e far sorgere dal loro stesso corpo altre forme con mezzi che talvolta raggiungono i limiti dell'impossibile. 


Hahn Rowe
Compositore, produttore, ingegnere del suono e multi-strumentista, Hahn Rowe si posiziona da circa vent'anni tra il rock di New York, la musica elettronica, l'improvvisazione e l'universo della nuova musica.
I suoi esordi come ingegnere del suono sono negli anni '80 a New York, dove lavora per artisti come Bill Laswell, Roy Ayers, Sly e Robbie, John Zorn.
Successivamente ha suonato o registrato anche con Swans, Moby, Foetus, R.E.M., Hassan Hakmoun, KRS-1, Ikue Mori, Butch Morris, Syd Straw, Michael Brook, Angels of Light e Tom Cora.
Rowe è conosciuto anche nel mondo della musica elettronica; si è esibito come musicista e come dj in occasione di eventi organizzati da collettivi come SoundLab, Unity Gain e Phonomena. Con lo pseudonimo di Somatic, ha pubblicato il cd di drum and bass The New Body per l'etichetta Caipirinha.
Ha ricevuto tre New York Dance and Performance Awards (AKA "The Bessies") per le sue composizioni musicali per i lavori coreografici di Margarita Guergué (We Were Never There/The Kitchen 1989), Bebe Miller (Verge/BAM 2001) e Meg Stuart e Benoît Lachambre (Forgeries, love, and other matters/DTW 2006). Ha anche composto le musiche per le coreografie di John Jasperse (Madison as I Imagined It) e di David Dorfman (Subverses/1999).
Il suo lavoro tra Bruxelles e Berlino con la coreografa Meg Stuart e Damaged Goods porta alla creazione di diverse composizioni: Disfigure Study, No Longer Readymade e Swallow My Yellow Smile.
Rowe ha inoltre composto e interpretato live la musica di Forgeries, love and other matters e ha scritto quella di Replacement e di Blessed.
I suoi lavori, con più di 200 rappresentazioni, sono stati presentati in tutto il mondo, in teatri e festival quali la Deutsche Opera di Berlino, il Festival d'Avignon, il Szene Sommerfest Salzburg, il Théâtre de la Ville di Parigi, The Kitchen a New York, il Walker Arts Center di Minneapolis, il Festival d'Hollande e il Festival Internazional di Edinburgo.


coproduction 2009

Louise Lecavalier / Benoît Lachambre /
Laurent Goldring / Hahn Rowe

une création de Benoît Lachambre, Louise Lecavalier,
Laurent Goldring, Hahn Rowe
dramaturgie: Benoît Lachambre
interprètes: Benoît Lachambre, Louise Lecavalier
scénographie, éclairages et projections: Laurent Goldring
compositeur et musique live: Hahn Rowe
costumes: Lim Seonoc
direction technique: Philippe Dupeyroux
assistante à la création: France Bruyère
production: Par B.L.eux
coproduction: Théâtre de la Ville, Paris ; MODAFE 2008, Séoul;
Mercat de les Flors, Barcelone;
PACT Zollverein, Essen;
Festival TransAmériques, Montréal;
l'Usine C., Montréal; Fabbrica Europa

Is you me est le résultat de plusieurs rencontres. La rencontre entre Benoît et Louise bien sûr, mais aussi l'histoire que j'ai tissée entre les images et la danse, une histoire où j'ai croisé Benoît à de nombreuses reprises.
Pour cette fois, Benoît m'a proposé de poursuivre avec lui une expérience commencée avec Mathilde Monnier: avec un unique projecteur faire l'espace du théâtre, à la fois le plateau les lumières et les décors.
L'expérience avec Mathilde m'avait appris que cela impliquait de travailler dès le début dans l'optique d'une co-création et Benoît l'a tout de suite compris.
La danse n'aurait pas pu être conçue séparément de l'espace dessiné comme les projections ne pouvaient pas se concevoir comme un simple cadre neutre et accueillant.
Benoît et Louise sont devenus progressivement des sortes de dessins, mais dessins animés : ils ont commencé à jouer avec leur troisième dimension, s'amusant à s'en débarrasser ou à la récupérer: pour  passer de l'état de volume à celui de surface ou de ligne et réciproquement.
Du côté des projections, le parti pris s'est lui aussi infléchi pour utiliser de plus en plus le dessin.
Et le dessin au lieu de devenir une image finale immobile s'est mis en mouvement lui aussi, il s'est mis à raconter sa propre construction, et à montrer comment un trait en engendre un autre, comment la gestuelle du dessin se rapproche et se distingue de celle de la danse: j'ai mis de plus en plus l'accent sur les temporalités du trait plutôt que sur l'immobilité de la forme.
Une des conséquences est qu'il a fallu retrouver dans le dessin sur palette graphique une gestuelle qui permette de construire un rythme autant qu'une forme. Ce qui semble aller de soi mais qui va à l'encontre de tout un discours (imposé) sur l'immatériel et sur le virtuel.

Un autre geste simple mais qui a changé radicalement la donne a été l'ouverture de l'écran et la possibilité pour les corps d'être littéralement dans l'écran, dans cette fissure entre l'écran du fond et le plateau incliné (lui aussi écran), fissure qui est devenue de plus en plus utilisée au cours de l'élaboration de is you me.

Cette rematérialisation, ce redevenir geste de l'immatérielle informatique s'est faite aussi en regard du travail de Hahn Rowe qui m'a aidé à comprendre ce qui se passait. Notre double présence aux frontières du plateau qui s'est imposée d'elle-même a conduit tout naturellement à un dessin-musique qui se faisait en même temps et en même temps que la danse. Hahn a proposé des narrations et des rythmes qui se retrouvent quasiment tels quels dans le dessin. Quand Bernhard Lang m'avait demandé de faire un film pour DW2 il m'avait dit qu'il avait fait la musique d'un film qui n'existait pas encore. J'ai eu souvent cette même impression avec la musique de Hahn, comme si elle avait eu sans cesse la générosité de faire d'abord une place à l'image.

La synergie a été soulignée aussi par la créatrice des costumes Seonoc qui a tout de suite réagi à ce devenir-dessin des danseurs et au devenir-danse du dessin avec ses costumes qui soulignent à la fois la physicalité et le graphisme des présences. Pour moi un des moments important est quand les silhouettes jaunes et vertes que nous avons construites peuvent se passer complètement du dessin parce qu'elles sont devenues elles-mêmes des dessins.                                 (Laurent Goldring)

Louise Lecavalier
Née à Montréal, Louise Lecavalier est danseuse professionnelle depuis 1977. Elle s'associe à La La La Human Steps au début des années 1980 et a fait partie de toutes les distributions de la compagnie depuis Oranges en 1981 jusqu'à Exaucé/Salt en 1999. En 1985, elle devient la première Canadienne à remporter un Bessie Award à New York pour sa prestation dans Businessman in the Process of Becoming an Angel (1983). Symbole de la compagnie pendant près de deux décennies, investie corps et âme dans son art, elle a incarné une danse extrême, avec passion, avec une générosité sans prudence, bouleversant les publics de partout. Elle a également participé à toutes les collaborations d'envergure qui ont marqué la trajectoire de La La La Human Steps.
En mai 1999, elle remporte le prix national de danse Jean A. Chalmers, la plus haute distinction en danse au Canada, accordée pour la première fois à une interprète. Elle recevait en février 2003 une bourse de carrière du Conseil des arts et des lettres du Québec. En 2003, elle travaille avec le chorégraphe Tedd Robinson, qui crée pour elle et trois interprètes masculins la pièce Cobalt rouge, coproduite par le Centre national des arts (Ottawa), la Biennale de Venise et le Théâtre de la Ville (Paris).
Après la création du solo "I" Is Memory (2006), chorégraphié par Benoït Lachambre, Louise Lecavalier travaille à un solo, Lone Epic, avec la chorégraphe canadienne Crystal Pite. Lone Epic, "I" Is Memory et Lula and the Sailor, duo extrait de Cobalt rouge, forment un programme complet présenté durant la saison 2006-2007 au Canada, en Europe (aussi à Fabbrica Europa '07) et au Japon.

Benoît Lachambre
Audacieux et innovateur, Lachambre évolue dans le milieu de la danse au niveau international depuis 1978 comme chorégraphe, interprète, improvisateur et enseignant. Après des débuts en jazz et en moderne, il s'investit totalement dans une approche exploratoire du mouvement et de ses sources afin de retrouver l'authenticité du geste. Depuis, il a multiplié les expérimentations, fait des recherches en releasing, en composition chorégraphique et en improvisation avant de diriger des ateliers de recherche, d'improvisation et de conscience corporelle.
En 1996 il fonde la compagnie Par B.L.eux: "B.L. pour Benoît Lachambre, et "eux" pour les artistes créateurs à qui il s'associe. Sa vocation est la création chorégraphique contemporaine interdisciplinaire et l'alliance à un réseau d'artistes internationaux.
Depuis la fondation de la compagnie, 13 créations ont vu le jour. En renforçant ses collaborations, Lachambre participe à plus d'une vingtaine de productions extérieures à Par B.L.eux, il reçoit 21 commandes chorégraphiques, dont les solos Comme un chat assis au bord d'un océan de lait espérant le lécher au complet (2006) qu'il crée avec Hong Keng Sen du Theater Works de Singapour , "I" Is Memory (2006) pour Louise Lecavalier, et Les Portes-Heures de paroles (2007) pour Marion Ballester. Par B.L.eux aura présenté ses créations dans une dizaine de pays à travers le monde (Europe, Amérique, Asie).
Benoît Lachambre a été honoré pour son travail par le Prix Jacqueline Lemieux du CAC (1999), Deux Prix Dora Mavor Moore de la meilleure interprétation et la meilleure chorégraphie pour Délire Défait (2001), le Prix Moving pictures de Toronto pour sa prestation dans le film Cantique#1 et #2 de Marie Chouinard (2003), et un Bessie Award du meilleur interprète pour Forgeries, love and other matters (2006).

Laurent Goldring
Photographe polymorphe, reconnu pour son travail vidéo, Laurent Goldring s'est rapproché de la sculpture avec Ne pas toucher, série de sculptures incluant des bouts d'humain vivant, de l'histoire de l'art avec Lectures intitrées: cycle de conférences au titre intraduisible en anglais, et Hypothèses numérotées. En outre, il accompagne depuis de nombreuses années le corps des chorégraphes. Son regard particulier au travers de l'objectif, nous en montre des facettes parfois bien singulières. Il a collaboré avec Xavier Le Roy pour Blut et Boredom; Self Unfinished; Jean-Michel Rabeux pour Les Enfers Carnaval; Benoît Lachambre pour L'Âne et la Bouche; Saskia Holbling pour RRR; Other Features; Maria Donata d'Urso pour Pezzo O (due) et Germana Civera pour Figures. Ce créateur utilise le corps comme instrument artistique, ces créations vidéos ne sont pas des reproductions, l'artiste avec lequel il travaille doit se déposséder de son image et faire surgir de ce corps d'autres formes par des moyens qui touchent parfois au domaine de l'impossible.

Hahn Rowe
Compositeur, producteur, ingénieur du son et multi-instrumentiste, Hahn Rowe se positionne depuis près de vingt ans entre le rock de New York City, la musique électronique, l'improvisation et l'univers de la nouvelle musique.
Il commence en tant qu'ingénieur du son à New York dans les années 80, pour des artistes tels que Bill Laswell, Roy Ayers, Sly et Robbie, et John Zorn.
Depuis, il a joué ou enregistré avec, notamment, Swans, Moby, Foetus, R.E.M., Hassan Hakmoun, KRS-1, Ikue Mori, Butch Morris, Syd Straw, John Zorn, Michael Brook, Angels of Light et Tom Cora.
Rowe est également reconnu dans le monde de la musique électronique; il s'est produit en tant que musicien ou dj lors d'événements organisés par des collectifs tels que SoundLab, Unity Gain et Phonomena. Sous le pseudonyme de Somatic, il a sorti le CD de Drum and Bass The New Body sur le label Caipirinha.
Il a reçu trois New York Dance and Performance Awards (AKA " The Bessies ") pour ses compositions musicales des pièces de danse de Margarita Guergué (We Were Never There/The Kitchen 1989), Bebe Miller (Verge/BAM 2001) et Meg Stuart et Benoît Lachambre (Forgeries, love, and other matters/Dtw 2006). De plus, Rowe a composé les musiques de chorégraphies de John Jasperse (Madison as I Imagined It) et de David Dorfman (Subverses/1999).
Son travail entre Bruxelles et Berlin avec la chorégraphe Meg Stuart/Damaged Goods aboutit à plusieurs compositions: Disfigure Study, No Longer Readymade et Swallow My Yellow Smile. Il a par ailleurs participé à quatre éditions de Crash Landing. Il a composé et interprété en direct la musique de Forgeries, love and other matters et il a écrit celle de Replacement et de Blessed.
Plus de 200 représentations de son travail ont été diffusées dans des théâtres et festivals à travers le monde tels que le Deutsche Opera de Berlin, le Festival d'Avignon, Szene Sommerfest Salzburg, le Théâtre de la Ville (Paris), The Kitchen (New York), le Centre d'Arts Walker (Minneapolis), Festival d'Hollande et le Festival international d'Edinburgh.

Photos 1 and 2 are by André Cornelier.