Taking the Artist Off the Pedestal

When we walk into the room for Quarantaine 4×4, we are immediately confronted with five giant eyes staring at us from all around through five video projections. The audience might feel like they are under the scrutiny of their gaze, but the situation is quickly reversed; it is really the four performers (Marc Béland, Marc Daigle, Benoît Lachambre, Ken Roy) who are under scrutiny in Quarantaine, and not just that of the audience, but also that of metteure en scène Charmaine LeBlanc. In a show that often flirts with exhibitionism, it is them who are asked to reveal themselves, especially in front of the camera.

There is a good dose of humour injected into the work, especially in the three sections that pass themselves off as auditions for the role of Jean-Pierre. The four men, wearing headphones, attempt to communicate the music they are listening to using only their voice and body movement. For the second audition, they strut down a catwalk as different potential versions of Jean-Pierre. The highlight is when Lachambre unties his hair and proceeds to dance like the great Margie Gillis. Eventually, they come together for the “world premiere” of Jean-Pierre and perform a piece of music using nothing but their voice and the percussive abilities of their body.

What stands out the most are the videotaped interviews with them. LeBlanc asks them deeply personal questions that are also a bit on the cliché side, and the answers often reflect both of those aspects. But we come to ask ourselves the same questions and, in this manner, end up relating to the performers. If Quarantaine has a strong point, it is that one; by demanding that they honestly unveil their vulnerability, it humanizes them. It is no longer the star dancer that stands in front of us, but the human being.

As far as dance goes, Roy and Lachambre offer the only worthwhile number. Always touching, they slowly move with gentleness and confidence. Roy hangs on tightly to Lachambre in an effort to remain above the floor’s surface. Their interaction is touching, the intimacy between two men being such a rare thing to witness. Let us note as well the imaginative illustrations by Pol Turgeon and the stunning makeup creations by Eleni Uranis, two of the best elements of the show.

Despite all its efforts and qualities, I have to admit that Quarantaine left me strangely unaffected. However, it looked otherwise for everyone around me. They often laughed and offered all involved a standing ovation, so maybe you should trust the majority on this one.

Quarantaine 4×4 continues until Saturday, March 22 at the S.A.T. For more information, call 514.871.2172.

PREVIEW Next week, Chanti Wadge, presents her newest work at Tangente, just beings. Two years ago, Wadge had impressed me with her short work [thru]: the stilllife series. A few months later, she raised the bar even higher when she was given carte blanche by Ginette Laurin and, in only two weeks, put together a long work with O Vertigo that managed to be on par with the best shows of the year. I have much faith that she will leave her mark on the Canadian dance scene, so I would highly recommend that you catch her show while you still have the chance to experience her work in a more intimate setting. You can catch just beings from Thursday, March 27 to Sunday, April 6. For more information, call 514.525.1500.