Impact / The animals are planning an intervention
A DanceWorks Mainstage Event
Marc Boivin and Blue Ceiling dance (Lucy Rupert)
April 7-9, 2011 at 8pm at the Enwave Theatre
Interview by Lucy Rupert and Marc Boivin
Lucy’s questions for Marc:
Lucy Rupert: Impact is a synthesis of 25 years in dance – could you explain this synthesis?
Marc Boivin: It is the result of where I am now as a dancer and my relationship to the world. I’m a product of my collaborators over the years; each of them has transformed me and I wanted to explore this transformation. In an exercise with Louise Bédard, I once had to find a definition for dance. Part of my definition was, “to discover the world through the intelligence of the body”. I want Impact to take the form of my body trying to find its way through the world, seen as a sensory field.
LR: Where do you find fresh inspiration with a work that you have performed many times?
MB: Inspiration comes from performing as a continuity of the creation process. There really is a lot to learn by performing a piece onstage and seeing how things can be different, or sensed and perceived differently. A lot of inspiration comes from simply sharing the work with an audience.
LR: How did the media arts and design of Impact develop?
MB: All media aspects were developed through discussion with Jonathan Inksetter and giving him carte blanche to create the visual environment of the piece. Jonathan, composer Diane Labrosse and lighting designer Yan Lee Chang were all part of a previous project of mine. In that project it was clear that my dance was heightened by their contribution. For Impact I shared some source material and rough choreographic sequences. I never asked for any specific sounds, images or lighting effects. For me, all their artistic proposals are tangents to follow, and guides for the interpretation. I must add that Sophie Corriveau, rehearsal director and artistic advisor, also played a big part in the development of the piece.
Marc’s questions for Lucy:
Marc Boivin: Hypothetically, if dance wasn’t in your life, what would be different and what does such a thought evoke in your mind?
Lucy Rupert: The thought evokes great fear. I would probably be on another path, the one I gave up a number of years ago and be working as a classical musician, but somehow I think I would be dissatisfied, because my connection to the audience as a musician isn’t as direct or visceral as it is in dance. I also would not have met my husband and therefore would not have my amazing baby.
MB: What is the greatest satisfaction in having dance in your life?
LR: Exertion. The art of pushing the body and heart to its edges, in a kaleidoscope of ways, is so exquisite that I know I am a happier, saner, healthier person when I’m working at those edges. I’m funnier, too.
MB: In regard to the piece you are presenting at DanceWorks April 7 to 9, 2011; the animals are planning an intervention, how do you relate it to other creations or projects that you have done in the past, and how does it evolve into the future?
LR: This is the first work I’ve made since I had a baby and while my creative process is the same, the architecture of my heart has changed. So this work lies easily in the spectrum of past projects, but is definitely charting new territory where love, wonder and a sense of mortality are heightened.
See and hear Lucy rehearse her upcoming piece, the animals are planning an intervention, with music by Sarah Slean