Anne Plamondon is an artist and choreographer whose reputation is well established: she is involved in many projects, which makes her a major figure in the dance community and, more globally, in the artistic world in Quebec, but also around the world. Get to know the co-choreographer of our new creation through this exclusive interview.
What inspires you in your day-to-day creative work?
Everything. Life. Mine and others’. When an event hits me, affects me, troubles me or destabilizes me, it makes me want to talk about it through dance.
Is there a piece that you have performed or created that has left a particular mark? In what way?
There have been several over the course of my career. I always approach new roles with plenty of curiosity and a desire to learn. Even the smallest ones. My need to always surpass to myself makes me plunge into any new challenge that comes my way. Early in my career at NDT, there was Sad Case, created by Paul Lightfoot, which inspired me deeply. I would also say Stamping Ground and Un ballo by Jiri Kylian. Dancing his repertoire filled me with immense joy. Then there was Crystal Pite’s duet, A Picture of You Falling, in which – beyond the rigor and precision of its movement – I was able to abandon myself completely. This piece marked my career, I think. Then there were all the pieces I created and danced with Victor Quijada, which deeply transformed me as a dancer. Particularly AV Input/Output. I had a fusional relationship with this partner.
What do you think are the most important qualities of a good choreographer?
I don’t know. What I can say is that I never want to forget what it is to be a dancer – the raw material of the work. I think it’s important to remember that we’re working with people and not performers who are there to do what’s expected of them. I have worked with over 30 choreographers in my career. The most inspiring were those who were dancers for a long time before choreographing.
How do you feel about co-choreographing VANISHING MÉLODIES? Was this your first time co-choreographing? Any upsides or downsides?
Co-creation requires a great deal of openness and the ability to let go of an idea to make room for something else. I co-choreographed with Emma Portner for our duet Counter Cantor, and I worked with director Marie Brassard on two occasions for my solos Les mêmes yeux que toi and Mécaniques nocturnes. There are always challenges and joys in creating, regardless of the type of collaboration involved. It’s all very exciting!
If you had to describe in 3 words the choreographies you created for the work so far, what would they be?
Echoes, poetry and collective force
Were you familiar with Patrick Watson’s work before choreographing to his songs? What about his work inspires you?
Of course I knew his music! That said, this project exposed me to more mysterious and, at-times, strange universes. I loved it.
What does it mean to you to choreograph for BJM?
BJM is a major company in Montreal. I’m thrilled to be creating for a local company.
As you know, the Company is celebrating its 50th anniversary this year. Any wishes for BJM for the next 50 years?
I wish BJM a vibrant and unique next chapter of artistic creation that will inspire the dancers to excel and thrill the audience again and again.I wish them the vertigo one feels when surrendering to newness and exploration. It’s very exciting!
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