|FORÊT unveils the stigmas of bodies rooted to wild nature, undertaking with ardour to explore the immediacy of the being, and sending back to where it all begun, to the origin. Between abandon and exaltation, then begins the intimate movement, this primal beat, almost animal, that precedes thought. The immanence of the being in its greatest fragility and its most authentic natural, at this very precise moment becomes reality through its existence, its explanation, its value.
PRESS REVIEWS :
“ Forest is strong in images [...] like a contemplative look at a human vivarium …
From the nude to the dressed, from the single to the whole, from the crawls to the gestures, an outline of evolution human ”
Catherine Lalonde. LE DEVOIR.
“ Forest [...] a tremendous experience [...]
The naked bodies, from the curiosity of the movements and the senses, to the awakening of self-awareness, to the garments that camouflages but reveals at the same time, through the implications of morality and the look of the other. It was precious to me to see 6 bodies of men and women, all different in age, shape and experience, moving with ease and freedom, without taboos or embarrassment. A revealing, liberating experience ”
Maïté. WEB & MASCARA.
“ Forest : naked bodies, political bodies [...]
From the primitive body, slowly penetrated by its consciousness, to the social body clothed with a codified morality. We like here the diversity of bodies, either trained in dance or theater schools, or untrained. It is not so much the masterly skills that matter as much as the inner path that dictates to each one their own movements ”
Alain-Martin Chartrand. JEU, Revue de Théâtre.
“ Forest [...] six performers who have really different bodies, that's really cool [...]
I loved the experience [...] Nudity in dance takes on a different meaning in this context. It induces a relationship of horizontality between the audience and the performers ”
Stéphanie Dufresne. ON DIRA CE QU'ON VOUDRA, ICI Première, Radio-Canada.
“ Forest [...] gentle social allegory about our different human origins [...]
And there comes the moment when the brightness moves in slowly, timidly at first and a little more assuredly after, and allows us to discover laying bodies, far from each other [...] And the evolution of these individuals, without clothing but all different, is very poetic. The rest is simple, but very accessible and above all very eloquent ”
Robert St-Amour. SUR LES PAS DU SPECTATEUR.
" Forest [...] A beautiful fable about innocence and self-discovery, and especially about the genesis of humanity. Congratulations to the creator Élian Mata [...]
We are offered here a microsociety, a people, which emerges from its jumble. Disparate bodies, young, old, white, black, Asian, men and women, move crawling on the ground. Then the members of this society discover that they can get up, walk, and run. We can witness touching scenes and also comical moments "
Denis-Martin Chabot. CULTURE AREA.
“ Forest [...] this piece intrigues by how it approaches its subject [...]
Here the physical movement is put to the test through the experience of obstinacy and of the excessive use of the body, its muscles, its bones and its fascias. This is about the human genesis and how vulnerable it can be, with a call to have an objective look at this experience of the original essence. We are invited to be spectators of the evolution of our own species” Lucie Lesclauze. DFDANSE.