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Chicago

Museum of Contemporary Art (MCA)

Exhibition Detail
Compagnie Marie Chouinard: The Rite of Spring
220 East Chicago Ave
Chicago, IL 60611


March 21st, 2013 - March 23rd, 2013
Opening: 
March 21st, 2013 7:30 PM - 9:00 PM
 
,
© Courtesy of the Museum of Contemporary Art (MCA)
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MCA members $28, nonmembers $35, students $10
> DESCRIPTION

MCA Stage: Compagnie Marie Chouinard

The Rite of Spring and Henri Michaux: Mouvements

MCA members $28, nonmembers $35, students $10

 The program by Montreal-based choreographer Marie Chouinard combines her newest work with her landmark interpretation of The Rite of Spring. This dance is presented on the MCA Stage 100 years after the work was originally composed by Igor Stravinsky and choreographed by Vaslav Nijinsky. The choreography features powerful staccato movements with the dancers’ feet turned inward, a dramatic departure from ballet technique of the time. Henri Michaux: Mouvements is a new work inspired by the French artist Michaux’s book of poetry and drawings, which Chouinard used as the basis for her choreography. Michaux's drawings are projected against the backdrop of the stage and the dancers recite excerpts of poetry.

“A staggering Rite of Spring. Vigorous, wild body movements, tinged with an exceptionally eloquent primitivism … shakes your very soul.”
–Le Nouvel Observateur (Paris)

Québécois choreographer Marie Chouinard creates dance that seems culled from a primeval dream, earthy and strong yet shaped by irrepressible secrets and unseen dimensions in time. She returns to the MCA Stage with her landmark interpretation of The Rite of Spring and her newest work, Mouvements.

Chouinard’s interpretation of The Rite of Spring is one of the resounding triumphs of contemporary dance, disarmingly unballetic and dauntingly new two decades after its world-acclaimed premiere. Performed on the 100th anniversary of the original work composed by Igor Stravinsky and choreographed by Vaslav Nijinsky, Diaghilev’s Ballet Russes production in 1913 Paris was a landmark of early modernism. The dance so outraged the audience, the shouting and booing of the crowd famously drowned out the orchestra and Nijinsky had to shout out the count to his dancers from backstage.

From Stravinsky’s original score, Chouinard finds the pulse that is essential to her movement. The cadence and force of the music inspire and energize her work, forming both the musical parallel and counterpoint of an organic and powerful choreography. This visceral Rite exults in the very moment after the very first instant life appeared. The performance is the force of creation unleashed. … an extraordinary burst of light, a flash of lightning. She constructs this piece around solos, seeking to awaken the intimate mystery within each dancer and of strong, clear movement through space of a vital energy.

Mouvements is inspired by a book of poetry and drawings by the Belgian poet and artist Henri Michaux. Brilliantly imaginative, Michaux’s work often wrestles with the conflict between one’s inner and outer lives. The idiosyncratic book, published in Paris, 1951, is comprised of a 15-page poem and 64 pages of India-ink drawings depicting multiform figures that Marie Chouinard took delight in reading literally, from left to right and page to page, like a choreographic score. Inspired by Michaux’s “feast of bursting lines, spots and kaleidoscopic arms,” Chouinard originally conceived the work as a solo piece and choreographed only a few pages of drawings and poetry depicted by the artist.

In 2011, she decided to revive the work using the drawings and poetry of the entire book on her Compagnie. In the performance, Michaux’s black against white drawings are projected against the stage backdrop. The dancers, dressed in black and dancing on a white floor, become a three-dimensional visual echo the artist’s sketches. Whether reciting Michaux’s mystical poetry or moving in frenzied control, the dancers form a stunning silhouette to the projections, and exude a haunting sense that they, as Michaux, have connected to “the strangeness of natural things and the naturalness of strange things.”

Running time: 1 hour and 45 minutes with intermission
Recommended for mature audiences: some nudity
No late seating

 


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