Born in La Roche-Sur-Yon in 1976, Yvann Alexandre began dancing at the Amicale Laïque du Bourg and at the Conservatory of his hometown, then in La Rochelle with Colette Milner, Christine Girard and Brigitte Asselineau. He continued his training in Montpellier with Epsedanse directed by Anne-Marie Porras and, at the same time, also trained at Montpellier CCN (National Choreographic Centre) then under the direction of Mathilde Monnier. During this period, his encounter with Christian Bourigault and other foundational teachings led him to forge the bases of his creative work and his pedagogy. At just sixteen years old, he composed his first works and went on to establish his company in Montpellier in 1993. He produced his first creations for the Hivernales in Avignon and for Montpellier Danse festival.
In addition to his creations, performed on numerous prestigious stages and festivals in France and abroad, he was also the guest of the CNSMDPs (Higher National Conservatories of Music and Dance) of Paris and Lyon, of Quebec and Montreal, as well as the National Choreographic Centre in Nancy and the Nordwest Tanzcompagnie in Germany.
He gained a reputation over these 25 seasons of creation as the representative of abstract, highly-premeditated dance, far removed from the performances and improvisations of others of his generation, and had a particular interest for movement writing.
Even today, his work addresses reflection which focuses on the very substance of dance, where the notion of plasticity gives way to the movement’s own energy, all the while remaining faithful to the idea of line, an element which has existed for him from the very beginning. His creations place movement and scenography on the same footing, like two subjects on equal terms: the plastic matter totally interacting with the body-matter.
His extremely precise body language is full of details and is structured like rather intimate calligraphy.
Source: Cie Yvann Alexandre
More information: http://www.cieyvannalexandre.com/
As a kid growing up in suburban Quebec, Harold’s nickname is Dennis the Menace. Only one thing can make him sit still: a musical on TV, especially one with Fred Astaire (who will heavily influence his subsequent work). Harold’s interest in dance comes about just like that: simply and naturally. But the road ahead is full of curves.
Only much later, after singing in a choir, managing a credit union and failing several auditions as an actor will he undertake a career in dance. At 20 he enrols at the École de danse de Québec.
He graduates in 1989, apprentices at Danse Partout (Quebec City), then joins the prestigious Groupe Dance Lab in Ottawa. Working under Peter Boneham is a crash course in professional creation, performance and choreography. Harold earns his stripes. His first shows are presented at the Canada Dance Festival (Ottawa), the Winnipeg Dance Festival and the New Moves Festival in Glasgow, Scotland. The Ottawa Citizen predicts “(…) his works will become an important contribution to this country’s performance arts.” Rhéaume has only been out of dance school 3 years.
1993 takes Rhéaume to Montreal, where he dances with panache for Louise Bédard, Danièle Desnoyers, Estelle Clareton, Hélène Blackburn, Isabelle VanGrimde, Daniel Soulières and Sarah Bild. In 1997 La Presse gushes: “(…) when he dances, Harold Rhéaume’s intensity makes him seem enormous (…) he dances to say something, to move you.”
Montreal also gives Rhéaume his big break as an independent choreographer: Lucie Boissinot, known for her work with Jean-Pierre Perreault, commissions him to create "Ses propres ailes". Rhéaume is now a known commodity. In 1994, he creates "Falaise" for The Dance Collective Company (Winnipeg). The same year, "Fatras" (co-produced with Danse-Cité) makes waves at the Canada Dance Festival (Ottawa), followed by "Troïka" (1996) and "Hybride" (1997) with Tangente (Montreal). Another highlight of 1997 is his work with with video-artist Katrina McPherson to create "Picture Show" in Scotland.
After 1998’s Fresk (Agora de la danse, Montreal; Betty Oliphant Theatre, Toronto), Rhéaume makes his premiere at Montreal’s Place des Arts with "Les dix commandements". The critics rave: “Right on!” writes La Presse, while The Gazette proclaims “Les dix exceeds all expectations (…) Just plain brilliant.”
In 1999 Rhéaume starts working under the name Le Fils d’Adrien: first taking part in the Festival international de nouvelle danse (FIND) with "Épitaphe", then producing his final show as a Montreal-based artist with his friends Catherine Tardif and Jacques Moisan. "Trinité" is an off-the-wall success that takes le fils d’Adrien to Burlington, USA. The time is now ripe for Harold to go back to his hometown. His career is in full flight.
Source: Le fils d'Adrien danse 's website
“Videographer”, a curious word, a Métis word which has been translated for more than 20 years in Philippe Devilliers by images in which video is the medium which allows him to express his sensitivity to art and its actors: the artists. Through his teasers and making offs, his clothing for creations, he shows bodies and participates in stories. Witness and stakeholder of these imaginary realities, he has notably collaborated with cie charabia, cie non nova, gerardo jerez lecam, production Dekalage, choreographer n. béasse ... the story begins with y. alexandre and his dancers with the creation Le Corps Sombre in 06 then continued with Silences duos and Passages in 07, then Venenum Amoris in 09. He also contributed to the video creation of the project l'Autre et moi en 10, Cloud en 14 , Les Soli Noirs in 15, Les Fragments Mobiles in 2017.
Source: Cie Yvann Alexandre
Yvann Alexandre, Harold Rhéaume