Freedom in the Invitation: Lilith & Cie’s Invisible
Abstract
Lilith & Cie’s Invisible is a participatory durational dance piece that aims to “make the intelligence of the collective visible.” Invisible spans three consecutive days and features ten improvising dancers and a charming black dog. In May 2022 at Montreal’s OFFTA, the piece featured dancers Ariane Boulet, Rachel Harris, Emmanuel Jouthe, Abe Simon Mijnheer, Caroline Namts, Charlie Prince, Luce Lainé, Charles Brécard, Zoë Vos, and Silvia Sanchez. The following is an excerpt of a conversation between Invisible’s dramaturg Kathy Casey and choreographer Aurélie Pedron on how they structure the invitation to indirectly influence audience behaviour, balancing freedom with limits. Invisible is almost entirely guided by audience input, inviting participants to feed into the collaborative action and catalyze dancers through rearranging furniture and plants, DJing through our phones, changing the lighting, leafing through show records, or simply listening and witnessing in silence. In order to gently gesture toward both the expansiveness and limitations of this audience participation, Invisible begins when participants enter the show lobby and are presented with a board game and a deck of cards that offer a map and guide to the experience.
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Published In
Canadian Theatre Review
Volume 197 • Winter 2024
Pages: 82 - 89
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Copyright © University of Toronto Press. The publisher holds the copyright for the article.
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Published in print: Winter 2024
Published online: 5 June 2024
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Aurélie Pedron
Biography: Sensitive to the rare and precious states of metamorphosis offered by both art and experience, the artist and choreographer Aurélie Pedron creates perpetually renewed encounters that play with duration and create a deep intimacy between location, performer, and audience. Unsettling our expectations, the maker reaches out to us to leave a sometimes subtle, yet durable trace. Founded in 2013, her company Lilith & Cie is devoted to the research, creation, and dissemination of works intersecting performance, choreography, and installation. The company’s productions waive performing arts codes and invite us to consider reality otherwise. The body, the encounter, and social or cultural differences (or any other difference) are at the heart of Aurélie’s artistic process. Working with people having atypical life experiences by White, Western standards is one of the company’s foundational values.
Kathy Casey
Biography: Kathy Casey danced for many years in Chicago, Illinois, and then New York City. Welcomed by Montréal Danse in 1991, she was appointed artistic director of the company in March 1996. A major portion of her work now is as a dramaturg with choreographers who are rethinking and redefining what is a dance. She enjoys and encourages bold ideas and discovering ways to express them and give them form. She also organizes and facilitates an annual choreographic research workshop, runs research labs, and facilitates or co-facilitates dance and interdisciplinary dramaturgy workshops.
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Aurélie Pedron and Kathy Casey
Canadian Theatre Review
2024
197:,
82-89
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