#El Conde de Torrefiel

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El conde de Torrefiel, Ultraficción nr. 1, septembre 2023

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How can we approach the landscape without distancing ourselves at the same time? What if art did not imitate nature, but allowed us to experience it? Caroline Barneaud (Théâtre Vidy-Lausanne) and Stefan Kaegi invite their audience to leave the theatre and venture out into Berlin’s green surroundings. From early afternoon to sunset, seven productions by European artists will address the (re-)discovery of landscape. What relationships can we build, which established perspectives can we alter? Under the open sky, artistic interventions, performances, sound compositions, choreographies, media art and theatre will create a fleeting moment of a new kind of community as a performative response to the land art movement of the visual arts. With productions by: Chiara Bersani and Marco D’Agostin (Italy) El Conde de Torrefiel (Spain) Sofia Dias and Vítor Roriz (Portugal) Begüm Erciyas and Daniel Kötter (Turkey, Belgium, Germany) Stefan Kaegi (Germany, Switzerland) Ari Benjamin Meyers (Germany) Émilie Rousset (France) Concept and curation: Caroline Barneaud, Stefan Kaegi Artistic assistant: Giulia Rumasuglia Stage manager: Guillaume Zemor Production and coordination: Isabelle Campiche, Aline Fuchs (Théâtre Vidy-Lausanne) With the support of the production, technique, communication and administration teams of Théâtre Vidy-Lausanne Coordination of Performing landscape Rimini Protokoll: Chloé Ferro, Monica Ferrari, Lara Fischer Production: Rimini Apparat and Théâtre Vidy-Lausanne (Switzerland) Co-production: Performing landscape, European consortium: Bunker and Mladi Levi Festival (Slovenia), Culturgest (Portugal), Festival d’Avignon (France), Tangente St. Pölten – Festival für Gegenwartskultur (Austria), Temporada Alta (Spain), Zona K and Piccolo Teatro di Milano Teatro d’Europa (Italy). And Berliner Festspiele (Germany). Co-funded by the European Union. The concept creation was funded by the Federal Agency for Civic Education. With the support of INVR Berlin for the virtual reality headsets.

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Sempre in fieri / Santarcangelo dei Teatri

Sempre in fieri / Santarcangelo dei Teatri

Una proposta meticcia nei linguaggi, un calendario fitto di eventi tra narrazioni, performance site-specific, dialoghi e installazioni: il festival di Santarcangelo è davvero ripartito? (more…)

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Short Theatre | El Conde de Torrefiel | Guerrilla

Short Theatre | El Conde de Torrefiel | Guerrilla

  ideazione El Conde de Torrefiel regia e drammaturgia Tanya Beyeler, Pablo Gisbert testo Pablo Gisbert, in collaborazione con 80 partecipanti volontari di Roma assistente Nicolas Chevallier disegno luci Ana Rovira tecnico luci Dani Miracle scenografia Blanca Anon suono Adolfo Garcia assistenza alla coreografia Amaranta Velarde musica Pink Elephant on Parade, Salacot performer Amaranta Velarde e…

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el conde de torrefiel, la plaza

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Quarta declinació del projecte de recerca escènica “ULTRAFICCIÓN” d’El Conde de Torrefiel, projecte artístic que encapçalen des de 2010 Tanya Beyeler i Pablo Gisbert. Es tracta d’una performance realitzada dins el marc del la 10a edició del Festival Sâlmon el dimecres 9 de febrer de 2022 al Centre d’Arts Santa Mònica a les 19h de la tarda, amb la participació d’estudiants de l’assignatura d’Introducció a l’Esce- nografia de l’Escola Tècnica Superior d’Arquitectura de Barcelona, coordinada per Yaiza Ares, Guillem Aloy, Guillermo López i Antoni Ramon.

[victoriaautheatre-blog]

Spectacle 2 - La Plaza, El Conde de Torrefiel, Centre Pompidou

C’est dans le cadre du festival d’Automne que j’ai vu La Plaza, du collectif espagnol El conde de Torrefiel au centre Pompidou le 12 octobre. La mise en scène est de Tanya Beyeler et Pablo Gisbert (qui est aussi l’auteur). C’est un spectacle créé en mai 2018 à Bruxelles au Kaaitheater dans le cadre d’un autre festival : le Kunstenfestivaldesarts.

El Conde de Torrefiel, La Plaza, 2018, Pablo Gisbert, Centre Pompidou, Paris © Luisa Guitierrez

Avant le spectacle

Je vais assister au spectacle sans aucun a priori. Je ne connais rien au théâtre espagnol (mes connaissances s’arrêtent à Calderon) et si je me réfère au dernier spectacle vu dans le cadre du cours  Ithaque, Notre Odyssée (1), je sais que c’est une mauvaise idée de trop m’avancer : en effet je pensais que Ithaque aurait une mise en scène et scénographie assez sobre voir vide. Je n’ai d’ailleurs pas lu la notice en ligne sur le site du centre Pompidou en réservant ma place. 

Et ensuite ...

La pièce s’ouvre sur une image d’une place, un parterre de fleurs et de bougies. Quelque chose d’assez beau et poétique, très contemplatif. Puis le spectateur est face à un texte projeté qui lui explique qui il est, ce qu’il pense, qu’elle et la situation ici, la pièce se transforme à ce moment en performance.

J’ai souvent beaucoup de mal avec comment le terme performance est employé par mes camarades à Paris 3. Loin de moi l’idée d’être prétentieuse et lourde à force de le répéter, mas étant également étudiante en 3eme année d’Histoire de l’Art, j’ai pu bénéficier de plusieurs cours sur l’art du 20eme siècle. Lorsque j’entends des camarades utiliser le terme de performance pour toute forme non traditionnelle ou conventionnelle au théâtre je grince des dents quelque peu : une performance est comme le dirait Cunningham un “event”, quelque chose qu a juste lieu, qui, même si elle est mise en scène, laisse une part libre à l’improvisation, et laisse le spectateur bien plus libre d’interaction avec l’objet performatif en face de lui : l’environnement qui entoure la performance influence directement celle ci. Une performance n’est pas programmé comme une pièce de théâtre et ne possède pas, entre autres,ce rapport presque sacré entre salle et public. Il était important pour moi de rétablir ce qu’était à mon sens une performance pour le reste de mon analyse.

Si je parle de performance ci, je parle bien de performance pour la première partie du spectacle. Soyons clair, je ne pense pas que le parterre de fleurs soit une performance puisqu’elle est inclus dans une pièce, cependant, la scène qui nous est décrite : c’est à dire que ce parterre de fleurs exposé dans 365 pays pendant 365 jours dans 365 pays différents en continue : cela est performatif. La pièce veut nous faire croire que l’on assiste à cette performance régulièrement, j’ai donc accepté cette information et l’ai cru. A ce moment là je suis devenue actrice du spectacle moi même, ainsi que le reste de la salle : nous avons décider de jouer le rôle de cette personne qui assiste à ce dispositif régulièrement. Ici nous signons un pacte avec la pièce : nous allons faire partie intégrante du spectacle qui parlera de nous (comme entité individuelle ou collective). Cette première partie était très calme et a permis une certaine évasion du spectateur que nous sommes : il était très assumé de dire qu’on ne suivait pas tout ce qui était écrit à l’écran, on avait le droit de penser à autre chose, de laisser notre esprit divaguer sans pour autant se sentir coupable de ne pas suivre ce qui était en train de se passer. Le spectateur entre dans une temporalité interne. 

La deuxième partie se résume à un enchaînement de divers tableaux, avec un texte projeté et aucune parole prononcée. J’ai eu la sensation d’être dans un musée, c’était un spectacle très imagé. Cette partie du spectacle semblait créer un étirement du temps puisqu’elle présentait différentes temporalités une première qui est celle du “Tu” qui rentre chez lui sur le texte projeté; et celles des différentes scènes qui sont indépendantes et qui s’étirent dans le temps). J’ai eu l’impression de me perdre dans une autre dimension temporelle, j’ai perdu la notion du temps (impression renforcée par la lenteur des mouvements des personnages). J’ai trouvé qu’il y avait une certaine poésie dans ce spectacle, cela serait-il un élément récurrent dans les théâtres étudiés dans ce cours ? 

Je voulais aussi discuter de la dimension politique (ou non politique ?) de la pièce. Le collectif semble toucher à divers sujet d’actualité assez sensibles : le viol, l’intégration des musulmans etc. Pourtant le spectacle ne s’attarde pas sur ces questions, ces thématiques ne sont qu’anecdotiques ; j’ai l’impression que l’on essaye de critiquer le spectateur qui se voit comme élevé intellectuellement, cultivé, supérieur etc. mais qui ne fait rien une fois confronté à ces thématiques. Toujours dans cette idée du pseudo bon-penseur cultivé qui va au théâtre, la pièce prend un malin plaisir à nous rappeler que nous pensons tous la même chose au final, qu’on est tous très semblable. Cette perte de l‘individualité se traduit dans dans cette disparition physique de l’individu dans la pièce avec les visages invisibles.

Pour conclure.

Je pense que nous pouvons dire que cette pièce nous offre une nouvelle vision des théâtres étudiés en cours : un théâtre plus sobre, la poésie est tout autant présente, je pense que nous nous dirigeons peut-être vers des théâtres assez politiques (ou du moins traitant d’actualité) et presque symboliste. 

El Conde de Torrefiel, La Plaza, 2018, Pablo Gisbert, Centre Pompidou, Paris © Luisa Guitierrez

[elcinerevelado]

ECR_S03_E02 > ARTISTAS > AMARANTA VELARDE + ALBA G. CORRAL

AMARANTA VELARDE Amarante Velarde se gradúa en CODARTS, Universidad de Danza de Rótterdam (2004). Desde entonces trabaja intensamente en Holanda como intérprete, colaboradora y asistente del coreógrafo Bruno Listopad en numerosas producciones escénicas, investigaciones e instalaciones en museos y galerías. A partir de 2010 comienza a crear sus propios solos “Eclipse”, “Lo Natural” o “Hacia una estética de la buena voluntad”. Como intérprete ha trabajado en piezas con El Conde de Torrefiel, Cecilia Vallejos o Cristina Blanco. Desde el 2013 forma parte del colectivo ARTAS de la Poderosa y comienza a pinchar música en Barcelona.

ALBA G. CORRAL Alba G. Corral es artista visual con formación en ingeniería informática. Su práctica se extiende a través del directo, el vídeo, new media e instalación. A través de ellas, explora narrativas abstractas, combinando processing art con dibujo, generando así paisajes digitales fascinantes. Su nombre es referente dentro de la cultura Vj, ha colaborado con músicos de la talla de Miguel Marín (Arbol), Jon Hopkins, RZA o Jacaszek. Desde el año 2009 trabaja junto a la artista sonora Nikka en el proyecto “The Space in Between”. El trabajo audiovisual de Alba ha podido mostrarse en festivales internacionales como Sónar, She Makes Noise o L.E.V. Fotografía Amaranta Velarde - Sergio Redruello Fotografía Alba G. Corral - Xavi Montojo

[prnews]

PER LA PRIMA VOLTA A MILANO LA COMPAGNIA CATALANA EL CONDE DE TORREFIEL http://tinyurl.com/ycs998vu

[nelliganmagazine]

Possibilities that Disappear Before a Landscape - Interview with Tanya Beyeler  from Theatre Group El Conde de Torrefiel -  FTA 2017 June 5-June 6

A talk with Tanya Beyeler about her Barcelona company's new play Possibilities that Disappear Before a Landscape and about ideas regarding  a "sluggish, lethargic Europe where everyone continues to live their daily lives and get drunk, despite a palpable collapse of both its underlying capitalist systems and the socialist utopias that nourished it in the past". "The Barcelona company El Conde de Torrefiel sculpts surprising, seemingly dormant landscapes throbbing with underlying, unacknowledged chaos. A theatrical excursion like an exhibit of contemporary art." James Oscar: The writer Frantz Fanon in his Wretched of the Earth, a 1960s classic book on "revolution "says :

"The Third World does not mean to organize a great crusade of hunger against the whole of Europe. What it expects from those who for centuries have kept it in slavery is that they will help it to rehabilitate mankind, and make man victorious everywhere, once and for all. But it is clear that we are not so naive as to think that this will come about with the cooperation and the good will of the European governments. This huge task which consists of reintroducing mankind into the world, the whole of mankind, will be carried out with the indispensable help, of the European peoples, who themselves must realize that in the past they have often joined the ranks of our common masters where colonial questions were concerned. To achieve this, the European peoples must first decide to wake up and shake themselves, use their brains, and stop playing the stupid game of the Sleeping Beauty." The last part reminds me of you talking about "sluggish, lethargic Europe where everyone continues to live their daily lives and get drunk, despite a palpable collapse of both its underlying capitalist systems and the socialist utopias that nourished it in the past...people who are bogged down in their daily routines...privilege wake up…tranquil citizenry". I always think of this scene in Antonioni's Blow Up where the band is playing on stage and all the "cool kids" are not dancing or moving- they just stare ahead in space - vacuous and immobile. Can you elaborate on this general state of affairs of this blank stare, lethargy which seems to be your starting point? Tanya Beyeler (El Conde de Torrefiel): This image of the “sleeping beauty” is very interesting because of the idea of an imposed sleep, a poison that doesn’t allow us to wake up and react. I don’t think it is a quite deliberate sleep, but there are very particular chains. These chains are totally perverse and numb to our responsibility in our historical present. Philippe Murray talks about the concept of “Homo festivus” which I like very much as a definition, as well as the one for “Homo economicus” because it marries this dichotomy between extreme irrationality and extreme rationality. I feel there is a tension between these two ways of existential behaviors that describe our way of life, and that there is a huge gap in between them that creates these accelerations in order to move from one to another, that creates this schizophrenia of nowadays, and that is in this garb that we could find our real space, that we can equalize with our real nature. This piece was conceived between 2014 and 2015, in a moment where we were totally exhausted and we had a deep need to stop. Even if we would not know what should stop. At the same time, we had the feeling that all the people that surrounded us, our friends, family, etc in Spain, were in the same situation. A lot of work, a lot of events, a lot of travels, a lot of everything, and everybody was tired, with a lot of things to do, a lot of activity but not really focussed, nobody had time to meet with others in quietness, or to meet with himself (themselves), everything was scheduled, even entertainment or free time was scheduled.

Entertainment is a “must do” thing (you have to be there in order to be updated, to be seen, to exist). Then we had the sensation of being kind of soldiers, workers of an invisible army, tired and without any benefit, poor and defeated: Cheap travels, cheap clothes, cheap relations, cheap friendships, cheap works. Everything very volatile, a real miseducation of bonding. The image was of being maddened cells of a sick organism, and like the metastasis of cancer,  those cells reproduce the illness in order to spread it with the frenetic pace. From this confused amount of feelings, we start to create the piece as a landscape, a panoramic view that doesn't attack the audience with its presence. James Oscar: There are some interesting new European filmmakers that seem to be experimenting with various forms of representation in the context of the current moment of crisis and lethargy. I am thinking of Roy Andersson (Songs from the Second Floor and A Pigeon Sat on A Branch Reflecting on Existence), Quentin Dupieux (Reality and Rubber), and Yorgos Lanthimos (Lobster, Dogtooth). Some of these artists are using speculative thinking, allegory, abstraction,  irony, the absurd, the mundane (everyday scenes?)  and other forms of representation to address a similar issue you are interested in - the moment of this crisis.  What forms of representation are you using in El Conde. What form of representation are you using to try and wake people up. Tanya Beyeler (El Conde de Torrefiel): Forms of representation are a very powerful tool to work directly on the meaning. Film frames are not at all the same as Theater, therefore the approach to images is very different. From the filmmakers you named, I like very much how they are hackers of reality as they present some very everyday situations/dynamics/images but they are tapped, they have interferences that open a huge dimension of (new) possibilities. Lately, on stage, our big concern was how to open new possibilities of meaning and sense using a close, recognizable language and forms. How to work in the abstract field from a concrete starting point. Right now, our stage devices are text and images. Text, always presented as a speech, reflection, or small story is a very concrete element, that allows us to break the rules of the narration and aesthetic without losing a grounded point. Text allows us to work images freely, and text and images don’t have to match. We are much more abstract with the image work, very much near to dance language, in order to offer an unpredictable aesthetic experience to the audience. All movements, colours, shapes on stage are choreographed, we always compose a big score of those elements and there is an important rhythmic component in the presentation of images, sound and light. Text allows us to go deeper with words in the ideas that surround the piece. It is always presented with distancing, off-recorded- voice, or projected text. The written text on stage is an added strong element of the choreography and at the same time gives the audience the opportunity to appropriate the text, as each of them might read it with their own voices. James Oscar: You speak about " increasing the layers of meaning in each of these staged images". Philippe Couture says, "Your work is based on disassociation between imagery, the body and the text. Why did you opt for that deconstruction"  You also say, "It's a question of viewing things from a distance so as to better perceive them." Can you elaborate on these comments:

Tanya Beyeler (El Conde de Torrefiel): Distance is definitely our way to approach the stage work. For the moment, this is the way that feels more ethical and fair towards others. Real life bombs the individual constantly with invitations to participate; there is a constant appeal to the first or second person. Outside we are constantly assaulted by mechanisms that call you to be this or that way, to look this or that way, to say this or that, to act and take a position, to decide but there is not very much place for reflection or for contemplation, or for doubt. The present is absolute and it erases the future and the past. This is very dangerous  - I think. Distance is the way to see with perspective, to give space to others, to seduce them from far away, to shorten the distance together, little by little. James Oscar: You mention Spencer Tunick and the philosopher  Zygmunt Bauman. Do you feel they just show the symptoms but offer no "solutions"? Of El Conde, beyond providing a representation of the symptoms, what else are your intentions? Tanya Beyeler (El Conde de Torrefiel): Zygmunt Bauman is not anymore in the piece as unfortunately, he died some months ago.The piece seeks to picture a present and the different layers that shape the present theatre and the multiple ways of perceiving this present. El Conde will never dare to offer a solution since we ourselves don't have it. We use the stage as a place to share our questions and worries about the world we are living in. We are contemporary theatre because we present human matters (that are always the same) with contemporary forms of approach to them, and we do so to an audience of people who are living our same historical moment. We offer the audience an aesthetic experience related to these matters, with forms that break the standard rules of the construction of the discourse. James Oscar: A Brazilian friend recently came from Spain and she was frightened by the unhidden and confrontational racism she was subject to everyday. This seems to be an important issue globally now. Does El Conde have any reflections in regards to this? Tanya Beyeler (El Conde de Torrefiel): It's funny, as I had the same feeling in Brazil (not towards me). This makes me think that racism is an ancient issue, actually defined as global issue, probably rooted in a very deep and basic part of our human nature. It is very much installed in society, and each country deals with it in a different way. But still, it is racism. I have racist behaviours. Towards tourists, for instance, I feel very inflexible. Because I feel them as a threat for my ecosystem, my environment. James Oscar: The word disappear is in the title of your upcoming show. Can you explain why ideas of  "disappearance " are important in your work- the disappearance of people's ideas, ideals, social responsibility? What do you mean by "disappearance" in El Conde? Tanya Beyeler (El Conde de Torrefiel): The concept of disappearing was very present in the starting point of the piece. It is not always important in the company’s work, but it was in this work. The tragedy of the human being resides in its disappearance, and that even if humanity progresses, humans have always to start from zero. Each person that is born in this world needs to experience things (for) from itself. The experience of others is not enough. Each body has to move about through its own experiences. Time disappears and with it History and the stories of predecessors. And the Presents covers the layers of the Past. James Oscar: Walter Benjamin refers to a state of emergency. I have always said that citizens should call their own state of emergency? Would El Conde be something that might fall under a kind of citizen-led call for realizing a certain state of emergency?

Tanya Beyeler (El Conde de Torrefiel): I’m afraid not. We are doing theatre which is a very minor media. Our influence is absolutely harmless. Art doesn’t change the world. It reflects or thinks the world. If I would have felt able to move crowds I would have done another thing. James Oscar: Why the blow-up castle, why the gong, why the plastic bags - in this latest play called Possibilities that Disappear Before a Landscape Tanya Beyeler (El Conde de Torrefiel): It's complicated to give a rational answer, as many of the decisions for this were taken during the creative process which is full of unpredictable movements (and moments), driven by intuition, taste - all in combination with other elements First, I  think I could say that the blow-up castle was a kind of whim, as it was something that we always wanted to have- these bouncy things on stage, things related to childhood games and big entertainment for children like a water park, amusement parks. Then, the piece which plays a lot with emptiness needed some moments of big elements. And that’s why the bouncy castle. Of course, we would have liked to have had a bouncy castle full of children jumping,  but it was not possible. The gong again, responds to a dramaturgical need. We need a noisy scene, and we liked very much the gong sound as well as the shape on stage. Plastic bags were the result of material in the rehearsal where one of the performers would wrap himself in plastic film (like the meat pieces for the kebabs). Then this image moved to a lot of plastic bags, of grocery stores. As we need big things on stage we started to add and add bags until it became this. It fits very well with the scene that speaks about a guy in a supermarket and his thoughts about pre-frozen food.

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Guerrilla

La Compagnia catalana El Conde de Torrefiel, guidata da Pablo Gisbert e Tanya Beyeler, apre il Danae Festival con lo spettacolo Guerrilla – al Teatro dell’Arte della Triennale di Milano. (more…)

[dusudaunord]

Things to do in Montréal from June 2 to 8

It’s still officially spring, but Montréal summer festival season kicks off this week with  outdoor music, dancing and F1 parties. Also see the city’s history rendered in light, the  sights of Expo 67, circus and theatre, award-winning classical musicians and more.

375th birthday celebrations

Watch Montréal history come to life on the Saint Lawrence River in spectacular, free multimedia show Montréal Avudo every night in the Old Port. From there you’ll also see the city’s high-tech 375th anniversary light show on the Jacques-Cartier Bridge. The Orchestre symphonique de Montréal under conductor Kent Nagano plays a Symphony for Montréal, with visuals by Moment Factory, June 2 at Maison Symphonique. Old Montréal landmark Notre-Dame Basilica, one of the city’s most stunning churches, lights up with beautiful high-tech spectacle Aura, while the surrounding streets illuminate with the historic tableaux projections of Cité Memoire. And La Grand Tournée weekend events, presented by Cirque Éloize, run throughout the summer and in every neighbourhood, from group picnics in the park and green alleyway tours to circus shows and cinema under the stars.

Outdoor fun 

The first First Fridays of the season turns Olympic Park into a giant food truck rally with music and family-friendly things to do on June 2. Ubisoft video game giant hosts L’été Mile End on June 3, with live music, games and a kids zone. Urban green space, outdoor eatery and bar in the heart of downtown Les Jardins Gamelin hosts music performances, dance classes, family activities and more. While downtown, grab a bite from one of Montréal’s great food trucks or pop by the Marché des Éclusiers market in the Old Port for a meal, a drink, local produce and other creations. Drop by Village au Pied du Courrant next to the Jacques Cartier Bridge for music, food and socializing. Join the crowds of cyclists in the streets during the Go Bike Montréal Festival‘s massive public bike rides Tour de l’Île on June 4 and Tour la Nuit on the night of June 2. The F1 Grand Prix festivities begin June 8 at the free Crescent Street Grand Prix Festival and Peel Formula downtown, featuring DJs, fashion shows, driver appearances and more. Take a walk up traffic-free Saint-Laurent Boulevard during Mural Fest, June 8-18, when you can watch artists paint new works on buildings’ walls. Discover the great tunes of French-language music festival Les Francofolies, opening June 8 with Les Trois Accords, Dumas, Pierre Kwenders and Lydia Képinski in a free outdoor concert in Place des Festivals. Find more outdoor activities in our guide to free things to do this Spring in Montréal.

Expo 67 returns

Montréal celebrates the 50th anniversary of Expo 67 with entertaining and history-rich exhibitions: see colourful outfits and products created by Québec designers at the McCord Museum’s Fashioning Expo 67; photographs tell the tale in The Sixties in Montréal: Archives de Montréal at City Hall; marvel at the technological innovations of EXPO 67: A World of Dreams at the Stewart Museum and Écho 67 at the nearby Buckminster Fuller designed Biosphère; baby boomer youth culture is a blast in Explosion 67 – Youth and Their World at the Centre d’histoire de Montréal; it’s all about ’60s artistic expression in the Montréal Museum of Fine Arts’s Révolution: “You say you want a revolution” and the Musée d’art contemporain’s In Search of Expo 67; Arcmtl presents Expo 67: Avant Garde! – forward-looking, boundary-breaking art of the ’60s at the Cinémathèque Québecoise; and Centre de design de l’UQAM honours architect Moshe Safdie’s Habitat 67 in The Shape of Things to Come. Photography exhibition Aime comme Montréal celebrates the city’s diversity in an installation at Place des arts.

On stage

Prepare to be dazzled and delighted at Cirque du Soleil’s VOLTA, the most exciting circus around – see acrobats, dancers, parkour experts, motor bike athletes and many more incredible performers under the big top in the Old Port of Montréal. Expect extraordinary, boundary-pushing performances in dance, theatre and art at the international FTA – Festival TransAmériques, including major Polish director and set designer Krystian Lupa’s Wycinka Holzfällen – Woodcutters, Marie Brassard’s La fureur de ce que je pense, Barcelona company El Conde de Torrefiel’s Possibilities that Disappear Before a Landscape, incredible contemporary dance, parties and more. Les Grands Ballets presents the contemporary dance of Jiří Kylián’s Falling Angels and Evening Songs in a triple bill with Stephan Thoss’s Searching for Home, at Place des Arts to June 3. For more theatre, eclectic performances and parties than you can shake a silly stick at, go to the St-Ambroise Montréal Fringe Festival, including a Fringe Prom on June 2, and and a Mini Fringe afternoon for kids and evening opening concert on June 8 at Fringe Park.

Art and film

Colour and music converge in CHAGALL: COLOUR AND MUSIC at the Montreal Museum of Fine Arts, Hajra Waheed’s The Video Installation Project 1–10 and collections-based Pictures for an Exhibition intrigue at the Musée d’art contemporain and Mexican artist Gilberto Esparza’s Plantas autofotosintéticas has us rethinking how biology, technology and art intersect, at Galerie de l’UQAM. British artist Ed Atkins poses questions on human bodies, digital creation and reality in video exhibition Modern Piano Music at DHC-ART. Pointe-à-Callière archaeology and history museum presents the fascinating Amazonia: The Shaman and the Mind of the Forest. And Parisian Laundry gallery presents intuitive experimental new work by collective BGL. On screen: A full orchestra and choir accompanies Milos Forman’s Oscar-winning film Amadeus at Place des Arts, June 2-3. The Montreal Israeli Film Festival opens with Past Life on June 4 and runs to June 15. Travel through virtual worlds in Felix & Paul Studios Virtual Reality Garden at the Phi Centre. Explore space in new double feature KYMA – Power of Waves and Edge of Darkness at the Rio Tinto Alcan Planetarium. Immerse yourself in live music and audiovisual wonders at the SAT’s Satosphere surround-sound dome, featuring Audio Chandelier: Latitude by Dafna Naphtali, Modulations by Chikashi Miyama and Le Loup, Lifting and Myogram by Atau Tanaka and Lillevan.

Une publication partagée par Festival Musique de chambreMTL (@festivalmusiquedechambremtl) le 20 Juin 2016 à 7h05 PDT

Classical music

The Montréal Chamber Music Festival is not only a must for classical music lovers but for jazz fans too – among the concerts, hear The Dover Quartet perform the complete Beethoven String Quartet cycle and play with the Rolston String Quartet, and check out the June 3 TD Jazz Series show with saxophonist Rémi Bolduc. Pianist Alexandre Tharaud and Les Violons du Roy perform the world premiere of an Oscar Strasnoy commission, June 2 at Bourgie Hall. On June 4, hear the sublime sounds of the Orchestre Symphonique de Longueuil’s Concert du Printemps at Place des Arts, the Association des orchestres de jeunes de la Montérégie‘s year-end concert featuring Mahler’s Symphony No. 1 at the Maison Symphonique, and gala concert concert of the 2017 Prix d’Europe winners and invited guest pianist Xiaoyu Liu at Bourgie Hall. On June 6, the McGill Chamber Orchestra and choirs perform Carl Orff’s Carmina Burana and an oratorio by composer Larysa Kusmenko at Maison symphonique. And the Chœur classique de Montréal performs works of Bruckner to Rossini on June 6 at Maison symphonique.

More live music

Heaviness prevails on Friday as Tool rocks the Bell Centre with openers Once & Future Band, while things are a little more laid back with Timber Timbre and Sin and Swoon at L’Olympia. The eclectic and excellent Suoni per il Popolo festival continues all month – this week open your ears to: an hommage to Pauline Oliveros, Pharmakon and Dorothea Paas on Friday; War of the Elements, Alan Licht and Red Mass on Saturday; Mary Margaret O’Hara on Monday; Peter Brotzmann on Tuesday; 2boys.tv on Wednesday; Princess Nokia on Thursday, and more. Saturday night sees famed Scottish indie-rockers Franz Ferdinand with opener Omni at Metropolis, hip hop producer Blockhead with guests Kognitif, Grandhuit and Famelik at Théâtre Fairmount, pop singer-songwriter LP with Josiah & The Bonnevilles at Théâtre Corona, and dance to the electro beat of Boombox Cartel and Drezo at New City Gas. Spend Sunday afternoon outside at Piknic Electronik, with music from Prins Thomas, Marcellus Pittman and more. Singer-songwriter pop-star BANKS performs at Metropolis with opener Toulouse on Monday, June 5. Intricate guitar work meets rock-noise as GIRLPOOL plays Bar Le Ritz P.D.B. on June 6. On Wednesday, Toronto’s outsider-folk-meets-electronic ANAMAI plays L’Esco with Petra Glynt, and electro producer Habstrakt brings the beats to Newspeak. And Synthwave artist DAS MÖRTAL launches a new album on Thursday at Bar Le Ritz P.D.B.

Up next:Your summer guide to Montréal’s Olympic Park

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[thegayboys2020]

El Conde de Torrefiel

[thegayboys2020]

El Conde de Torrefiel

[dusudaunord]

International performance with a twist

Expect nothing less than extraordinary, boundary-pushing performances in dance, theatre and art at the international FTA – Festival TransAmériques, May 25 to June 8. Among the 27 intriguing and provocative dance and theatre shows, see premieres made for the Montréal stage by elite artists from Europe, Asia and North America.

Challenging conventions

In a year marking Montréal’s 375th anniversary, this edition of the FTA pays tribute to the city’s artistic and cultural heritage while looking forward to what might be, unafraid of directly addressing heartfelt fears and desires. Québec artists offer their experiences and interpretations of urban life and creative minds from Barcelona to Berlin, Lausanne to Lisbon, Vancouver to Tokyo come to Montréal to share their perspectives (with English subtitles too!)

Interactive theatre

FTA shows question the very essence of theatre conventions, from stage to audience . In 100% Montréal by Berlin-based experimental collective Rimini Protokoll, 100 Montréal residents of all demographic categories portray 100% of the city’s population, unveiling truths and statistics often kept under wraps. Major Polish director and set designer Krystian Lupa presents masterpiece Wycinka Holzfällen – Woodcutters. Time, life, death and love shifts as heralded Japanese theatre artist Toshiki Okada exposes the human side of the Fukushima catastrophe in Time’s Journey Through a Room. Marie Brassard probes the writings of Nelly Arcan La fureur de ce que je pense. Step into controlled urban chaos of Possibilities that Disappear Before a Landscape by Barcelona company El Conde de Torrefiel.

Boundary pushing dance

Dance at the FTA eliminates the limits of spoken language and takes many forms, rarely the expected ones. Hedonism in the modern age is stripped naked in 7 Pleasures by Copenhagen choreographer Mette Ingvartsen. Eszter Salamon’s anti-imperialist MONUMENT 0: Haunted by the War (1913-2013) delves into global war dances of the past century. Jocelyne Montpetit’s Runaway Girl takes place in a private house full of memories. Benoît Lachambre’s newest work, Lifeguard, awakens the senses and calls for communion. Nicolas Cantin’s Spoon breaks the codes of dance through the context of childhood. Manuel Roque’s bang bang takes the artist airborne. Caída del cielo by Seville-based Rocío Molina closes the festival in an extraordinary, wild fusion of flamenco, rock concert and performance art.

More art on the edge

Free shows, discussions and parties also dot the FTA program: dancers and visitors connect in an all-afternoon show of Vancouver choreographer, dancer and teacher Lee Su-Feh’s Dance Machine at the Wilder; Anne Collod’s Blank Placard Dance, replay follows a downtown “protest” circuit starting at Place des Festivals; and check out the FTA Playground for late-night fun and more. And discover even more Montréal artists and their new creations at the OFFTA, May 30 to June 8, a live art festival featuring affordable shows, special events, discussions and parties at the edge of the FTA.

Up next:International artists headline Montréal Chamber Music Festival

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