L’aberration des traces stimulates the chaotic aspects of the mind, questioning our methods of construction and deconstruction. For the participant, the creation of a choreography becomes an introduction to both a global and a partial perception. The answer is like the letter “e” in Perec’s novel, that is, its impact comes from its disappearance. The work involves the audience members as active participants, calling upon their reception of the piece, their own aberrations and stimulating their curiosity. The audience members are part of the piece, a passionate exploration of disappearance, of the conscious and the unconscious, of dance as a means of perception, sense and exchange, of proximity and distance.
ab-er-rant adj. 1. straying from the right or normal way. 2. deviating from the usual or natural type.
ab-er-ra-tion n 1. the fact or an instance of being aberrant esp. from a moral standard or normal state 2. unsoundness or disorder of the mind.
ab-er-ra-tion n 1. The act of insisting on one definition when the possibilities are endless. 2. The act of defining a trace.
L’aberration des traces is both an introspection and the disappearance of memory awakened by traces. Would this be a confirmation of the inherent necessity of the essential underlined by its disappearance? When a piece of information disappears, it leaves behind a new piece of information that we call a trace.
Choreography Benoît Lachambre
Performing by Diane Leduc, Geneviève Pepin and Robin Poitras
Light an installation Somnolence Julie Andrée T.
Original Soundtrack Laurent Maslé
Rehearsal Director Livia Daza-Paris
Technical Assistant Sébastien Fournier
L’aberration des traces premiered in February 2000 at Tangente (Montréal, Canada)
© Diane Leduc