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前へもどる

2015年5月24日

Interview of Daniel Léveillé “Solitudes” work in progress @ Kinosaki

Interview of Daniel Léveillé “Solitudes” work in progress @ Kinosaki

We interviewed the company who stayed at KIAC from March 30th to April 4th 2015, Daniel Léveillé, a Canadian choreographer, and Marie-Andrée Gougeon, a general manager of his company about their work, the process in KIAC, and the impression of Kinosaki town.

 

photo right:Daniel Léveillé

photo lefgt:Marie-Andrée

 

――What was your process and achievement in Kinosaki? And what’s your plan after this stay?

Daniel: We are currently working on the piece, “Solitudes,” for coming international art festival the Festival TransAmériques in Montreal, Canada, that begins on May 21st. Before coming here, we stayed in Lyon, France, for two weeks and mainly worked on stage lighting. This time in Kinosaki, I focused on building deeper relationships with the dancers. In Canada, many people, including Japanese, have seen my work, but since the dancers are all naked, I didn’t get the chance to show it in Japan. So, this residence program in Kinosaki was the first opportunity for us to come to Japan. With this as a starting point, I hope to show my work in other places like Tokyo and Osaka in the future.

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――How did the work go in Kinosaki?

Daniel: Good, it’s almost done. After Kinosaki, we will go back to Montreal, go to Europe again for one week to work on, and then we will have the festival. The festival is very big and important, so the work has to be perfectly prepared. I’m happy with the progress we’ve made here.

――How was the showing of your progress in KIAC hall yesterday (April 11th)?

Daniel: It was interesting that I could feel how the audience in Kinosaki received the work differently from anywhere else in the world. Of course, other places, such as France, Germany and the United States, have different reactions depending on the country. The middle west of the States was especially tough… Here in Kinosaki, I felt deep respect from the audience. There was rich silence when they were watching the piece. I think five to six children were sitting and surprisingly even they remained very quiet despite that they probably had no idea what it was about. This work doesn’t have words so the interpretation is open to the audience, though.

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――Can you explain the concept and construction of your work?

Daniel: My previous work, (“Solitudes Solo”) consisted of seven to eight solos. I’m thinking only duets for the current work. In Kinosaki, I wanted to try combining both solo and duet into one to see the effect. The work we showed yesterday was Kinosaki edition “Solitudes.”

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I work like a visual artist; like a drawer who draws the same theme over and over again and creates the series of drawing. For example, I place two dancers and see the relationship. If I change the number of the dancers, one or two, and the relationship becomes different. I use the same vocabulary as drawing. Music is one of the elements that change the perception of the work. I think the process is deeply connected with the act of creation. The abstract painter, Jackson Pollock, for instance, splashes the paints to draw. Instead, I draw with all the parts composing the human body. Although the concept is abstract, the appearance isn’t totally abstract because I use the physical bodies. I think the difference between them would leave something else to the viewers. This work is visual, abstract and technically demanding for the dancers. On that point, Kinosaki is perfect because the dancers can heal their tired muscles in Onsen every day.

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――How was the stay in the town of Kinosaki? Do you have any anecdote?

Marie-Andrée: Let me think…, I loved the calmness and the clean air and water. But actually, the circumstance in which we, the French speaking group, came here confused like “Wow, what’s what?” is unique itself.

Daniel: Every detail is different; the houses, streets, plants, talk of local people and crooked paths. Their eyes were wide open with amazement. I think they had unique experience in every 15mins or so. And for some reasons, they wanted to come to Japan more than anywhere else in the world. I’m proud of myself being able to take them here. Of course, I myself wanted to come to Japan and to see the sights as well, but I couldn’t go out much since I came to work and didn’t have time. But taking a walk around the town after hours was satisfying enough.

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――How did you find our program and what made you come here?

Daniel: For me, like I said before, it was the first open door for us to come to Japan. And also it was a good timing for us, right before the important show for the festival in Montreal. Marie-Andrée probably knows more.

Marie-Andrée: I was lucky. When I participated in TPAM in Yokohama in 2014, I accidentally found the KIAC flyers on a table. I thought, “Looks interesting!” Then I contacted KIAC to ask if we are eligible for the residency program. After we are accepted, I found out Norikazu Sato of JCDN (KIAC advisor) and other people I already knew were involved in this program. I felt we are on the right track and I willingly took this opportunity.

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――Lastly, what do you think about KIAC and our facility?

Daniel: I think it’s fantastic. There are not many facilities like this in the world. For many artists, the environment where they can be separated from the daily life and be able to focus on their work is very precious. The capacity of the building that can take large groups is valuable too. I also support young artists and I’m thinking to apply here again for two or three of them. We can probably stay with other artist groups too. I heard this building was used for the other purpose before, but I think it was wonderful decision to transform it into this kind of artistic facility.

――Thank you for taking the time.

Daniel & Marie-Andrée : Thank you.

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Festival TransAmériques
http://www.fta.qc.ca/en/shows/2015/solitudes-duo

Daniel Léveillé danse
http://www.danielleveilledanse.org/en/accueil

© 2013 Kinosaki International Arts Center