An unfamiliar, melancholic atmosphere hovers over the retro carpet in a living room. The tense antennas of curious theremins wait to respond to the discrete movements of the performers in front of a few dozen privileged spectators. The theremins, early electronic-music instruments, capture through their frequencies the fantasy of three women in search of a lost futurism.
Sensual performance or anachronistic reverie, Anne Thériault’s improbable Récital is a choreography for transmitting bodies traversed by ambient waves. The organ and the beatbox vibrate to the soft poetry of the quirky electro. Flashlights create expressionistic shadow plays. The glow of a cinema of anguish arises around a kitsch tableau. There is a malicious pleasure in entering the enchanted domain of objects that we are fond of and that haunt us. A homemade choreographic recital, which awakens a kind of comic strangeness and nostalgia for defunct technologies.
A unique creator and performer, Anne Thériault has been weaving collaborations with artists from multiple backgrounds for over ten years: with composer Martin Messier, she co-wrote Derrière le rideau, il fait peut-être nuit (FTA 2011) and Con grazia (FTA 2016); with visual artist Julie Favreau, she created the performance Doux (Actoral 2016), and with the company BOP, Quatuor pour la fin du temps (OFFTA 2017) alongside Karina Champoux, Frédéric Tavernini and Dave St-Pierre. Her interest in theatre was expressed in Ainsi parlait… by Frédérick Gravel and Étienne Lepage, and La Fureur de ce que je pense by Marie Brassard. Until 2022, Anne was an associate artist at Usine C, where she presented her latest work, Récital (FTA 2018). She is currently working on new research projects, collaborating with several artists as a guiding dramaturg and acting as guest curator for Danièle Desnoyers’s COMPAGNONNAGE 21 with Le Carré des Lombes. She is also a guest researcher at L’L, an experimental performing arts research structure in Brussels, for a three-year period.