credit : Jeanne Tétreault
Originally from France, Lila Geneix graduated in 2020 from UQAM in dance. Her choreographic career was rewarded with the David Kilburn Prize (2022), awarded by the Department of Dance of UQAM x Fondation UQAM.
In 2019, she joined the Emmanuel Jouthe / Danse Carpe Diem company as a performer and took part in several cultural mediation projects. Later, she also took on the role of project manager.
Since her arrival in Quebec, she has collaborated with Sarah Dell’Ava, Aurélie Pédron and Danièle Desnoyers. In 2021-22, she created a dramaturgical notebook for Catherine Gaudet.
Besides her career as a performer, she is developping her choreographic approach, which is based on the relationship between the body and the pictorial image and its environment.
Her first creation, the duet Conjurer La (S)Cène, was presented at Danses Buissonnières (2022), at the Écomusée du fier monde as part of the Nuit aux Flambeaux (2023) and at the festival Vue sur la relève (2023). With this work, she joins the program Jouer Dehors supported by Danse sur les routes.
Conjurer la (S)Cène
Conjuring up a new poetic narrative of Christ’s last supper, Conjurer la (S)Cène is a surrealist dance fresco that comes to life in the public space or in a theater.
In a contemplative ritual, two women indulge in a strange decorum where playfulness and seduction are combined. Perched on high heels, on a moving playground, they play with etiquette and paint a sometimes mutant, sometimes hermetic painting. Sometimes both. The bodies are crossed by an invisible force that defines their relationships and interactions. In this merry-go-round, the audience becomes a voyeur of this last (S)Cène.
credit : Daphney Bradette, performers : Adèle Morissette et Alice Marroquin-Éthier
New choreographic research around anagogical constituents transposed in such a way that a new place emerges: the labyrinth. A fresco, or even a bas-relief expressing the flexibility between two illusions which is now called Abracadabra. Slowly, the performers cross this mirage, sculpt it and forge it, in order to shape this playground in a different way. The absurdity of the scenes that emerge questions our anthropological relationship to the notion of ritual.