Amour, acide et noix
British Premiere
Venue: Arch 2 at The Arches
As with Utopie, created in 1998 for 17 dancers, Lveill delivers both a human and physical sensibility in Amour, acide et noix. A kind of going beyond seduction - frequently associated with the way a person dresses - that takes shape to the Four Seasons by Vivaldi, just as it does to the music of Led Zeppelin and Rammstein. But more than the representation of youth on stage, and the humanity-love that inevitably follows, the choreographer also wishes to restore to the body its simple beauty, nobility, complexity and true profundity.
A major figure in the theatrical current of Canadian dance of the late 1970s, Lveill's style during the next decade was more formal and minimalist, characterised by the compulsive repetition of movement, the rapidity of execution or, in contrast, its extreme slowness.
Although repetition and a certain theatricality may still be found in his more recent works, the choreography increasingly tends to address the body in its physical dimension, giving expression to its natural eloquence.
How does one pay tribute to a work as pure and essential as this...a quartet that succeeds in presenting what is most direct and true about the body and nudity. Amour, Acide et Noix
Is squarely about being and not the appearance of being; it is a work that reinvents the body with all its beauty, and being, with all of its strength and human dignity. Le Devoir
Supported by the Conseil des Arts et des Lettres du Qubec, Canada Council for the Arts, Conseil des Arts de la Ville de Montral, Department of Foreign Affairs and International Trade, Dance Department of Universit du Qubec Montral.