Morceaux choisis at the Place d’armes

Morceaux choisis is a series of three short solos built separately and brought together by the music of composer Sergei Rachmaninov.

In the midst of the pandemic, Louise received an invitation to create a short 10-minute solo for the Spectacle Osez en solos produced by Karine Ledoyen of danse K par K and broadcast by l'Agora de la danse in Montreal. The suggested outdoor venue for this solo, due to the pandemic, is Parc Dante in the Petite-Italie borough.

© Jackie Hopfinger

The inspiration for this first solo came from a reading of Dante Alighieri's The Divine Comedy. It was not so much the author's writing that inspired Louise to create the solo Béatrice de Dante, but rather the character of Béatrice revealed in the introduction to the book, who would become the poet's muse. The choreographer juxtaposes her with the features of a middle-aged woman to pay homage to this imposing figure of the poet, writer and philosopher who watches over the park.  For her performance, the choreographer also lends Florence's features to Béatrice de Dante (Jeanne Moreau's iconic role in Louis Malle's Ascenseur pour l'échafaud). The two women, Beatrice and Florence, wander, letting reminiscences of the past flood in. This dance can never be quite the same, since the place where it's performed and how it's performed greatly influence how it's lived and performed. 

The second solo, in which Louise simply dances in tune with Etudes-tableaux, Op. 39_ No. 3 in F-Sharp Minor (Allegro molto) and Moment musicaux No. 5, Adagio sostenuto in D-flat major, 2 pieces of music from Sergei Rachmaninov, was expressly composed for Festival Quartiers Danses in 2024, where Morceaux choisis was presented for the first time.

 La femme brune, the third solo in the Morceaux choisis triptych, was first presented at the Festival de Danse contemporaine Furies produced by Mandolyne Hybride in Marsoui, Gaspésie. La femme brune is striking. Her appropriation of large and small objects, which she can't part with, reflects her precariousness and marginality.  She doesn't care who she stares at, if they don't infringe on her territory.

Following her performance at the Festival Quartiers Danses, Louise receives the Prix Danseuse émérite.