Les Érotisseries are back on the stages of Espace Libre, with a creation that sold out last year, featuring unique performances of their kind, which aim to be liberating, transformative, downright political. For an adult and informed public only. Above all: for a willing audience.
Consent is also an integral part of the program, which earned this unique show a place among the eight finalists for the 37th Grand Prix du Conseil des arts de Montréal last year.
What to expect, exactly? A daring hybrid show, neither theatrical nor purely circus, certainly sensual, at times funny, disturbing, engaging, even titillating, we promise. But it is not a dancer’s number, in the sense in which it is commonly understood. Oh yes, and we also call on willing “volunteers” from time to time.
Basically, these are “consensual erotic essays” (it is written as is in the program), which are in fact a series of paintings, inspired by the experiences, experiences, even fantasies of the three artists on stage , namely Éliane Bonin, Catherine Desjardins-Béland and Marie-Christine Simoneau. It is to them that we owe the creation, staging and interpretation here.
All three come from the circus world, the artists gave pure entertainment or stereotypical acts. Here they lay themselves bare (literally), in this philosophical and emancipatory reappropriation of their sexuality, daring authenticity, in all its diversity, a proposition that we can imagine is both confronting, but above all acrobatically and emotionally dizzying.
Think: different queer expressions here, a celebration of flourishing there, or a series of contrasting games between strength and softness, here and there.
Is it still not clear? It’s a “journey”, finally summarizes Éliane Bonin, founder of Productions Carmagnoles, at the origin of the project. You should know that the idea for this bold proposal was born in 2005, and seven distinct editions have been created to date. The two other artists (Catherine Desjardins-Béland and Marie-Christine Simoneau) joined the adventure ten years ago.
The different rereadings over time bear witness to artistic research in constant evolution, but also to profound recent social changes. As proof: in 2005, a geisha character was played by a white man, the circus certainly took up more space, and the whole thing ended with a “climax” number.
None of this is relevant yet. If the proposal was intended to provoke, today we are first and foremost in “benevolence”. At the start of the show, we now invite spectators to respect their limits and go out if necessary, since yes, certain scenes could shock some people. A social mediator has also been on site since last year, during each performance.
If everything that artists experience on stage is true, whether it’s fear, pain, excitement or dizziness, “the audience goes through those areas too, and that’s why someone is on place to mediate,” continues Marie-Christine Simoneau.
In the opinion of the three artists, this production is the most accomplished of all. “It’s the creation of which I am most proud of my entire life,” continues Éliane Bonin. Yes, you will be titillated, she assures, but when you leave, it will perhaps be deeper than that. There is a transformative reflection taking place,” she hopes.
