![]() Marguerite was someone I wanted to pursue. ![]() After the play, I felt there was good material here, and so I continued my own research. During her trial she remained silent and never defended herself. Marguerite wrote a book called The Mirror of Simple Souls, which the Church deemed heresy, and she was burned at the stake in 1310. They envisioned presenting her life in three parts using a dancer, an actress, and a young girl. In 2018, the Montreal theatre company UBU was creating a piece about her called Les Marguerites. I began with the medieval mystic Marguerite Porete. Stations is a piece that just grew on its own. I may start with something, but I don’t necessarily end there. There are four stations within the piece, and each corresponds to a specific theme that I explore in movement - fluidity, control, meditation, and obsession. Let’s talk about Stations, the dance you’re bringing to Toronto. ![]() This gave me the courage to create So Blue that premiered in Düsseldorf in 2012, and Benoît was the muse that made it happen. I was used to choreographers giving me steps, but Benoît refused to do it, so in the duet Is You Me (2008), we each created our own part, and movement just poured out of me. In 2006, Benoît Lachambre had created a solo on me, and I phoned him about doing a duet together. What made you decide to become a choreographer? Then they would make me nervous and I didn’t want them around. For example, some of the Lock dancers had children with them when we were on tour, and I always got along with them, except near showtime. It was such a funny idea to me, although I always liked them. I did workshops and master classes, but most importantly, I gave birth to twin daughters who are now 22, and they live upstairs in the duplex. When you left Lock in 1999, you left the stage, and didn’t reappear until 2003. You have to be true to a choreographer, but you can also be creative in your own interpretation, and that’s what gave me the most fun. He would give me steps and I had to interpret them, to make them work. I’m a creative artist and so is he, and we grew together. There is something inside my stomach that burns.Ĭan you describe the 18 years you spent with Lock? There is an energy and a fire that is within me. In fact, my body is as alive as my thoughts. My body hurts but it’s a different kind of pain. Rather, I say I’m doing things differently. I never say that I can’t do as much as I once could. My memory of what I could do at 20 is selective. What is it like to be a 64-year-old dancer? I ask questions, and even though I find not so perfect answers, I keep searching. I’m so lucky to be involved in something so beautiful. Exploring movement makes me feel so good. I can see beauty in the world, and that is what gives me the desire to go into the studio. What keeps the creative force so alive in you? Lecavalier and I met by Zoom and had an in-depth discussion about the dancer’s life and times, and of course, Stations. When her acclaimed solo show Stations opens tonight at Harbourfront’s Fleck Dance Theatre for a three-day run, she will be performing her own choreography in a show that has been called her most personal work to date.ĭavid Bowie works with Edouard Lock, Louise Lecavalier, and La La La Human Steps in 1988: To honour her distinguished career, Lecavalier was presented with the Order of Canada in 2010, and, in 2014, she received Canada’s most prestigious prize, the Governor General’s Performing Arts Award for Lifetime Artistic Achievement. Along the way, she tried her hand at choreography. Lecavalier formed her own company, Fou glorieux, in 2006, for the creation of works tailored expressly for her. After leaving Lock in 1999, she worked independently with other choreographers and theatre artists, including Canadian greats like Tedd Robinson and Crystal Pite. She also appeared in the pop star’s music video Fame ’90. Lecavalier reached worldwide stardom as a guest on David Bowie’s Sound + Vision Tour in 1990. As muse to Lock, Lecavalier, a singular image with her muscular, compact body and punk androgyny, fearlessly performed the mind-boggling, explosive feats of physicality that the choreographer showered on her. Her claim to fame was being the lead dancer in Edouard Lock’s idiosyncratic, ground-breaking dance company, La La La Human Steps, a darling of European presenters. What more can be said of dance artist Louise Lecavalier that has not already been recorded?ĭuring the 80s and 90s, the Montréal-born Lecavalier was arguably the most famous Canadian contemporary dancer in the world. Louise Lecavalier in Stations (Photo: Andre Cornellier) ![]()
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