{"id":54146,"date":"2016-11-15T12:59:23","date_gmt":"2016-11-15T12:59:23","guid":{"rendered":"http:\/\/localhost:8888\/wordpress\/?page_id=54146"},"modified":"2017-10-02T15:35:32","modified_gmt":"2017-10-02T15:35:32","slug":"interpretation","status":"publish","type":"page","link":"http:\/\/marcboivin.org\/en\/interpretation\/","title":{"rendered":"Interpretation"},"content":{"rendered":"

[vc_row unlock_row=”” row_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ shift_y=”0″][vc_column width=”1\/1″][uncode_slider slider_interval=”3000″ slider_navspeed=”400″ slider_loop=”yes”][vc_row_inner][vc_column_inner width=”1\/1″][vc_single_image media=”54789″ caption=”yes” media_width_percent=”60″ media_ratio=”twentyone-nine” alignment=”center”][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ shift_y=”0″][vc_column_inner width=”1\/1″][vc_single_image media=”54715″ caption=”yes” media_width_percent=”60″ media_ratio=”twentyone-nine” alignment=”center”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/1″][vc_single_image media=”54712″ caption=”yes” media_width_percent=”60″ media_ratio=”twentyone-nine” alignment=”center”][\/vc_column_inner][\/vc_row_inner][\/uncode_slider][\/vc_column][\/vc_row][vc_row unlock_row=”” row_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ shift_y=”0″][vc_column width=”1\/1″][vc_column_text]Individual sensibilities are private and fragile constructs. They define how we perceive the world and participate in it. Given that the stage acts as a partial mirror of human experiences, the confrontation of artistic propositions throughout the creative process acknowledges the desire for communication, specific to each individual, and to the various relationships we maintain with abstraction.<\/em><\/p>\n

The choices that lead to the creation of a work are meaningful. They possess a dynamic state that precedes the definition of things and that challenges awareness: \u201cIt makes me think of\u2026 It is as if\u2026 It refers to\u2026\u201d Abstraction is a way to get to the vital essence of perception and to give it a new and sensible form, to embody it.<\/em> – Marc Boivin[\/vc_column_text][uncode_index el_id=”index-322484″ loop=”size:10|order_by:rand|post_type:post|categories:87″ gutter_size=”3″ post_items=”media|featured|onpost|original,title,text|excerpt,sep-one|full” screen_lg=”1000″ screen_md=”600″ screen_sm=”480″ single_overlay_opacity=”50″ single_padding=”2″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/1″][vc_column_text]<\/p>\n

Dance projects since 1981 :<\/h3>\n

M\u00e9lanie Demers<\/strong><\/p>\n

Animal triste (2016), Pluton (2016), WOULD<\/em> (2013)<\/p>\n

Toronto, Ottawa, Montreal<\/p>\n

 <\/p>\n

Tedi Tafel<\/strong><\/p>\n

Everyday<\/em> (2014), Calendar – November <\/em>(2010)<\/p>\n

Montreal<\/p>\n

Catherine Tardif<\/strong><\/p>\n

6,3 \u00c9vanouissements<\/em> (2014), De la t\u00eate au ciel (<\/em>2011), Show poche (<\/em>2009) Show triste <\/em>(2006), Show Western <\/em>\u00a0(2004), Trio M\u00e9tal <\/em>(2003), St\u00e9phane <\/em>(2000), Projet Luminosit\u00e9s variables <\/em>(1999), L\u00e9opold et Maurice <\/em>(1994), Most Modern <\/em>(1986).<\/p>\n

Montreal, Lille, Toronto.<\/p>\n

Marc Boivin (in collaboration with Chantal Dumas)<\/strong><\/p>\n

Klassenzimmer 2 (2013) Montreal<\/p>\n

Sylvie Desrosiers<\/strong><\/p>\n

Douce Tourmente (2013) Ottawa<\/p>\n

Marc Boivin (in collaboration with Quatuor Bozzini and Sokolovi<\/strong>\u0107)<\/strong><\/p>\n

Une id\u00e9e sinon vraie\u2026 <\/em>(2012) Montreal<\/p>\n

Davida Monk\/Marc Boivin<\/strong><\/p>\n

The Strangest Torment <\/em>\u00a0(2011) Calgary<\/p>\n

Dominique Porte<\/strong><\/p>\n

Ulysses, nous et les sir\u00e8nes <\/em>(2010) Montreal<\/p>\n

Parle avec lui <\/em>(2003), Montreal<\/p>\n

Marc Boivin<\/strong><\/p>\n

Impact <\/em>(2008) Montreal, Toronto, Calgary, Ottawa, Winnipeg, Vancouver<\/p>\n

I 13 au carr\u00e9 <\/em>(2009) Montreal, Ottawa, Vancouver, Toronto<\/p>\n

Luc Dunberry<\/strong><\/p>\n

Mi-un, ni d\u2019eux<\/em> (2008) Ottawa, Vancouver<\/p>\n

Sylvain \u00c9mard \/ Andr\u00e9 Gingras<\/strong><\/p>\n

7 by 2 <\/em>(2007) Hollande<\/p>\n

James Kudelka<\/strong><\/p>\n

15 Heterosexual duets (reprise en 2006-07-08 pour Co Coleman\/Lemieux)<\/p>\n

Montreal, Ottawa, Peterborough, St-Sauveur, New York<\/p>\n

Tedd Robinson<\/strong><\/p>\n

Cobalt rouge (2005),Lexicons of space<\/em> (1994), 1+2=trio<\/em> (1993), Antisocial studies #1 through 21 <\/em>(1992).<\/p>\n

Touring in Canada, USA and Germany<\/p>\n

Sylvain \u00c9mard<\/strong><\/p>\n

Pluie <\/em>(2004), Sc\u00e8nes d\u2019int\u00e9rieur <\/em>(2001), Mensonge Variations<\/em> (1998), Rumeurs <\/em>(1996), \u00c0 jamais <\/em>(1996), Terrains Vagues <\/em>(1994).<\/p>\n

Touring in Canada, Scotland, France.<\/p>\n

Jean-Pierre Perreault<\/strong><\/p>\n

Les Ombres <\/em>(2001), Les \u00c9ph\u00e8m\u00e8res <\/em>(1997), Les ombres dans ta t\u00eate<\/em> (1996), Eironos<\/em> (1996), Les ann\u00e9es de p\u00e8lerinnage <\/em>(1995), L’Instinct <\/em>(1994), Adieux <\/em>(1993).<\/p>\n

Touring in Canada, France, Scotland and Australia<\/p>\n

Louise B\u00e9dard \u00a0\u00a0\u00a0\u00a0<\/strong><\/p>\n

Urbania Box, je n’imagine rien<\/em> (1999), Dans les foug\u00e8res foul\u00e9es du regard <\/em>(1995), \u00c0\u00a0 l’ombre <\/em>(1993), M\u00e4nngard<\/em> (1993), Les M\u00e9tamorphoses clandestines <\/em>(1991).<\/p>\n

Touring in Canada, France and Bulgaria<\/p>\n

Bill Coleman<\/strong><\/p>\n

Convoy P.Q.17 <\/em>(2005), Montreal, St-Petersburg, Victoria<\/p>\n

Felix Ruckyert<\/strong><\/p>\n

Hautnah <\/em>(2000), Montreal<\/p>\n

O Vertigo Danse, chor\u00e9graphe Ginette Laurin (1985-91)<\/strong><\/p>\n

Train d’enfer<\/em> (1990), Chagall<\/em> (1989), Don Quichotte <\/em>(1988), Full House<\/em> (1987), Up<\/em> the Wall <\/em>(1987), Etude II <\/em>(1986), Crash Landing<\/em> (1986), Timber<\/em> (1986).<\/p>\n

Touring in Canada, USA, France, Belgium, Spain, Switzerland, Germany, Great-Britain, Italy.<\/p>\n

Le Groupe de la Place Royale, directeur artistique Peter Boneham (Ottawa, 1981-84)<\/strong><\/p>\n

Dancer for Peter Boneham, Bill James, Michael Montanaro, Tassy Teekman, Odette Olivier and Daniel L\u00e9veill\u00e9 (1982-1985).<\/p>\n

Touring in Canada and France[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

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