The international reputation of the Compagnie Marie Chouinard is the
result of twenty-eight years of work by Montreal artist Marie Chouinard.
Now a fixture on the world’s major stages and festivals, the company
has its roots in Chouinard’s first creation in 1978, the solo Crystallization.
This piece, which immediately earned her a reputation for originality,
was followed by over fifty choreographic productions,
action-performances, vocal works, installations and films, in which she
refined her lifelong interest in formal research and the human body.
From 1978 to 1990, Marie Chouinard performed alone throughout the world,
developing a personal language with a universal resonance.
In 1990 she formed the Compagnie Marie Chouinard. In the dozen works she has created since then, the choreographer has explored the poetics of the body in immediate, intelligible and ever-surprising ways. Each new piece is an odyssey through the history of humanity, while avoiding the chronology or linearity of a narrative. In work stripped to its bare essence, a theatrical, quasi-operatic effect is achieved, the elements of “living art” brought to the fore through various techniques of composition and staging. The dancer is presented as a singular entity, a being constructed before our eyes, whose rhythmic configurations are broken down into micro-divisions, analogous to the fluctuations of verbal communication. Although her works may be perceived as provocations, they are better viewed as pathways towards freedom and compassion, where humour is possible and Eros omnipresent. The architecture of the cosmos, the inner intelligence of the body and the inexhaustible complexity of its articulations and mutations harmonize in formally accomplished constructions in which style and substance are in perfect resonance.
In 1990 she formed the Compagnie Marie Chouinard. In the dozen works she has created since then, the choreographer has explored the poetics of the body in immediate, intelligible and ever-surprising ways. Each new piece is an odyssey through the history of humanity, while avoiding the chronology or linearity of a narrative. In work stripped to its bare essence, a theatrical, quasi-operatic effect is achieved, the elements of “living art” brought to the fore through various techniques of composition and staging. The dancer is presented as a singular entity, a being constructed before our eyes, whose rhythmic configurations are broken down into micro-divisions, analogous to the fluctuations of verbal communication. Although her works may be perceived as provocations, they are better viewed as pathways towards freedom and compassion, where humour is possible and Eros omnipresent. The architecture of the cosmos, the inner intelligence of the body and the inexhaustible complexity of its articulations and mutations harmonize in formally accomplished constructions in which style and substance are in perfect resonance.
