A series to introduce those who work on PPS Danse productions.
Marie-Ève Carrière / rehearsal director for the production Le Trésor
Your place of birth?
City of Lachute, Quebec.
How many years have you been dancing?
I have been dancing since the age of 4. I took professional training between the ages of 11 and 21, and my career has been going on for almost 20 years now.
How do you see your role as a rehearsal director? What is your way of working?
I see my role as one of support, commitment and accompaniment. It can be defined in many different ways depending on the context and the needs related to it. That’s what I like about it. My mandate is constantly renewed and this is what characterizes each collaboration. In my opinion, it is a role that contributes to maintaining balance within an artistic team. It aims to put in place strategies and requirements that will enhance a work, support the wishes of the choreographer and her collaborators, and promote the development of the performers.
I cannot say that I have a particular or predetermined way of working. The intervention of the rehearsal director can occur at different times in a creation and therefore necessarily implies a different approach each time. I believe it is important to approach the work in a state of availability. I observe, analyze and see how I can help to meet the different needs that are at that moment in the process. This can be at the level of the dramaturgy as well as the construction or choreographic “cleaning” etc. I am always ready to help. I then go through priorities, layers, clearing. It is a work of constant questioning and repositioning. Of instinct and reflection.
Is it necessary to be a dancer to play the role of rehearsal director?
I don’t think I can say that it’s absolutely necessary to be one, but it’s undeniable that it’s a notorious asset. I think someone who has a sensitivity to dramaturgy, who understands the use of space, who has a keen eye for detail, and who understands the body and its mechanisms can fulfill this mandate. Obviously by being or having been a dancer, we are probably closer to an understanding of this common language.
What kind of complicity is necessary with the dancers? with the choreographer?
A sense of trust, respect and recognition is necessary. To have the ability to be both close to the artists on a human level and at the same time have a capacity for detachment and objectivity.
What, for you, makes the difference in your work for young and adult audiences?
The difference lies in the consideration of our audience, the children we address. Young audience productions are often very close and attentive to the audience they meet. Their feelings, reactions and comments are highly valued. This closeness is important to cherish and maintain. We owe it to ourselves to constantly nourish minds, imagination, openness, energy and rhythm. It certainly colours the direction of our work.
Do you regain your childlike soul by working on Le Trésor?
Certainly! We need to connect with the child within us to vibrate and share a work like this.