Compagnie Marie Chouinard The Rite of Spring Henri Michaux ...

Compagnie Marie Chouinard

Henri Michaux: Mouvements

IN MUSEUM Thursday–Saturday, March 21–23, 2013

The Rite of Spring

Edlis Neeson Theater

Henri Michaux: Mouvements Performers: Gérard Reyes, Mariusz Ostrowski, James Viveiros, Lucy May, Lucie Mongrain, Leon Kupferschmid, Carol Prieur. Photo: Sylvie-Ann Paré

Compagnie Marie Chouinard The Rite of Spring Ballet in one act Created at the National Arts Centre, Ottawa, Canada, June 18, 1993

Choreography and Artistic Direction Marie Chouinard Dancers at creation Marie-Josée Paradis, Mathilde Monnard, Daniel Éthier, Dominique Porte, Pamela Newell, José Navas, Jeremy Weichsel Dancers Paige Culley, Valeria Galluccio, Leon Kupferschmid, Lucy M. May, Sacha Ouellette-Deguire, Mariusz Ostrowski, Carol Prieur, Gérard Reyes, Dorotea Saykaly, James Viveiros, Megan Walbaum Music Signatures sonores, Rober Racine, 1992, 12 minutes The Rite of Spring, Igor Stravinsky, 1913. By arrangement with Boosey & Hawkes, Inc., publisher and copyright owner, 35 minutes Lighting and Set Design Marie Chouinard Costumes Vandal Props Zaven Paré Make-up Jacques-Lee Pelletier Hairstyling Daniel Éthier

A Compagnie Marie Chouinard production, co-produced with the National Arts Centre (Ottawa), the Festival international de nouvelle danse (Montréal), and the Kunstentrum Vooruit (Ghent, Belgium)

Intermission

Henri Michaux: Mouvements Ballet in one act Created at the Impulstanz, Vienna International Dance Festival, Vienna, August 2, 2011. Including a solo created at Cinquième salle, Place des Arts, Montréal, December 8, 2005

Choreography and Artistic Direction Marie Chouinard Dancers at creation Kimberley De Jong, Leon Kupferschmid, Lucy M. May, Lucie Mongrain, Mariusz Ostrowski, Carol Prieur, Gérard Reyes, Dorotea Saykaly, James Viveiros, Megan Walbaum Dancers Paige Culley, Valeria Galluccio, Leon Kupferschmid, Lucy M. May, Mariusz Ostrowski, Sacha Ouellette-Deguire, Carol Prieur, Gérard Reyes, Dorotea Saykaly, James Viveiros, Megan Walbaum

Lighting and Set Design Marie Chouinard Original music Louis Dufort Sound environment Edward Freedman Costumes Marilène Bastien and Marie Chouinard Hairstyling Marie Chouinard Poem, Post face, and projected drawings Henri Michaux, from the book Mouvements (1951), with permission of the rights holders Henri Michaux and Editions Gallimard Translation Howard Scott Warning This performance includes stroboscopic effects. Please turn to page 7 for the poem Mouvements. A Compagnie Marie Chouinard production with the support of ImPulsTanz (Vienna)

Marie Chouinard IN MUSEUM Solo performance Created at Musée d’art Contemporain de Baie-Saint-Paul as part of the 30th International Symposium of BaieSaint-Paul, Québec, Canada, August, 31, 2012

Performer Marie Chouinard Costumes and props Marie Chouinard and Jacinthe Loranger (assistant) Stage manager Caroline Nadeau A Compagnie Marie Chouinard production

Compagnie Marie Chouinard Touring Crew Rehearsal Director Isabelle Poirier Tour Manager Marie-Pier Chevrette Technical Director and Lighting Manager Claude Viens Stage Manager Noémie Avidar Sound Engineer Antoine Bouchard Generous support for Compagnie Marie Chouinard is provided by Ginger Farley and Robert Shapiro. Support for all dance programming in the 2012/13 season of MCA Stage is generously provided by David Herro and Jay Franke. The Compagnie Marie Chouinard wishes to thank the Conseil des arts et des lettres du Québec, the Canada Council for the Arts, the Conseil des Arts de Montréal.

Audio, visual, and video recording devices and cell phones are strictly forbidden during the performances.

Artists Up Close Gain insight into the creative process through these intimate opportunities to engage with the artists. First Night Thursday, March 21 Following the opening-night performance, audience members are invited to engage in a conversation with Marie Chouinard and Peter Taub, Director of Performance Programs at the Museum of Contemporary Art. In-gallery Performance Saturday, March 23, 2–5 pm In her MCA debut, the incomparable Marie Chouinard performs a rare solo in the Color Bind exhibition galleries. IN MUSEUM is part of Chouinard’s visitation of early explorations, from the late 1970s and through the 1980s. Clad entirely in white, Chouinard evokes Pythia, the prophetess of Delphi who delivered her prophecies in a trance and a language that only priests of the temple knew how to interpret. Visitors are invited by Chouinard to ask questions—personal or universal—which she then answers as a performance. The performance is durational and visitors may come and go.

Theater Back to Back Theatre Ganesh Versus the Third Reich May 16–19, 2013

“Courageous, confronting, intelligent and magisterially considered theatre… [a] towering achievement.” The Age (Australia) For tickets, visit mcachicago.org or call 312.397.4010.

Photo: Jeff Busby

Presented as part of Bodies of Work Festival

About the Work

The Rite of Spring Marie Chouinard’s The Rite of Spring occupies a special position. In choosing to reexamine this powerful hymn to life, she has created her first choreography based on a musical score. Igor Stravinsky’s The Rite of Spring explores a New World and marks the entry of dance into modernity. In this avant-garde work, Chouinard finds an original pulsation that is essential to her movement. Far from contradicting the rhythm of her dance, the cadence and force of the music inspire, accompany, and energize her, forming both the echo and the musical counterpoint of an organic, vigorous, and vivid choreography. For Marie Chouinard, all forms are the movement through space of a specific vital energy. Unlike previous choreographers working with Stravinsky’s piece, she constructed her Rite around solos, seeking to awaken in strong, clear movements the intimate mystery of each dancer. “There is no story in my Rite,” she explains, “no development, no cause and effect. Only synchronicity. It is as if I were dealing with the very moment after the instant life first appeared. The performance is the unfolding of that moment. I have the feeling that before that moment there was an extraordinary burst of light, a flash of lightning.”

Henri Michaux: Mouvements In 1980, Marie Chouinard discovered the book Mouvements by Henri Michaux (1899–1984). Consisting of sixty-four pages of India-ink drawings, a fifteen-page poem, and an afterword, a 15-page poem and an afterword, Mouvements presents multiform figures that Chouinard took pleasure in reading literally, left to right and page by page, as a choreographic score. She

then proceeded to decrypt the great artist’s drawings and set dance to these “movements of multiple inkjets, a celebration of blots, arms moving up and down the scales.” The book’s transition to dance has been done “word for word,” for even the poem in the middle of the book, as well as its afterword, are included in the choreography. The drawings are projected in the background, allowing spectators to do a simultaneous personal reading of the Michaux score. Echoing the visual presentation of a white page with black drawings, performers dressed in black dance on a white floor.

IN MUSEUM This performance originated in 2012, when Serge Murphy, guest curator for the 30th International Symposium of Contemporary Art of Baie-Saint-Paul (Canada), invited artists, including Marie Chouinard, to explore the notion of Minimalism. They were asked to work from the Symposium’s theme "Making the whirling world stand still" (fixer les vertiges), which was inspired by the poem of Arthur Rimbaud from the book A Season in Hell: …I wrote down silences, nights, I wrote down that which could not be said. I stilled vertigoes. Marie Chouinard has described performing IN MUSEUM as always digging in the least of the least, the almost nothing.  She devised the work for a room through which the public freely circulates. A visitor is invited to enter a designated space and ask a question or make a request of the dancer. The question or

request can be personal or universal. Chouinard’s performance brings to mind whiteclad Pythia, the prophetess of Delphi. This ancient Greek character delivered her prophecies in a trance and a language that only priests of the temple knew how to interpret.

For Chouinard, the history of the Pythia and the act of divination may remain a mystery, but the inscription at the entrance to the temple of Apollo at Delphi has lost none of its truth: “Know thyself and thou will know the universe and the gods.”

IN MUSEUM Performer: Marie Chouinard. Photo: Sylvie-Ann Paré

As IN MUSEUM progresses, a personalized reply emerges from each exchange between the artist and her visitor, a free dance of dazzling spontaneity. Between each interview, the dancer takes time to refocus before embodying the next visitor’s inner world and aspirations.

Mouvements

Against alveoli against the glue against the glue one another against the sweet one another Cactus! Flames of darkness hot-headed dagger mothers roots of battles thrusting into the plain A rolling race a boiling crawl teeming unit dancing block A defenestrated flies off torn up and down torn all over torn never to attach again Man bracing man leaping man hurtling man for the lightning operation for the storm operation for the assegai operation for the harpoon operation for the shark operation for the bursting operation Man not by flesh but through emptiness and evil and intestinal torches and flashes and nervous discharges and setbacks and returns and rage and tearing and entanglement and taking off in sparks

Man not by abdomen and buttock plates or vertebrae but through his currents, his weakness what recovers from shock, his startings man by the moon and burning powder and the bazaar itself from the movement of others and the storm and the wind rising and chaos never ordered Man all flags outside, slapping in the wind rustling his instincts man who thrashes the parrot who has no joints who does no farming goatman crestman with spines with shortcuts tuft man, galvanizing his rags man with secret supports, rocketing far from his degrading life Desire barking in the dark is the many-sided form of this being Flashes scissoring forking flashes radiating flashes across the whole compass rose To the noises, to the roaring if one gave a body! To the sounds of the balafo and the piercing drill to the foot-stamping teenagers who do not yet know what it means that their chests feel about to burst to the joltings, rumblings, surgings to tides of blood in the arteries suddenly changing direction to thirst to thirst especially thirst never quenched if one gave a body!... Soul of lasso of alga of jack, grapple and swelling wave of hawk, gnu, elephant seal

triple soul eccentric soul zealot soul electrified larva soul coming to bite the surface soul of beatings and gnashing of teeth overhanging soul always straightened again With disregard to any heaviness any languor any geometry any architecture disregarding: SPEED! Movement and ripping apart of internal exasperation more than movements of walking movements of explosion, denial, stretching in all directions unhealthy attractions, impossible desires gratification of the flesh struck in the neck headless movements What good’s a head when overwhelmed? Movement of folding and coiling inward while waiting for better movements of inner shields movements with multiple jets residual movements movements instead of other movements that can’t be shown but that inhabit the spirit with dust with stars with erosion with landslides and vain latencies... Festival of stains, scale of arms movements we jump into “nothing” turning efforts being alone, we are the crowd What countless number advances adds, expands, expands!

Goodbye fatigue farewell efficient bipedal at the station of the bridge abutment the sheath torn, we are other any other we no longer pay tribute a corolla opens, bottomless dive... The stride now has the length of hope the leap has the length of thought it has eight legs if we have to run it has ten arms if we join forces completely rooted, when we have to hold never beaten always returning new returning while soothed the keyboard master feigned sleep! Stains stains to obsess to reject to unshelter to unstabilize to be reborn to cross out to shut up memory to leave again Crazy stick boomerang always coming back returns torrentially through others flies off again ... Gestures gestures of life ignored of life impulsive and happy to be squandered jerky, spasmodic, erectile life devilish life, life any which way life

Gestures of defiance and response and escape from throttlenecks Gestures of excess of excess especially excess Gestures we feel, but cannot identify (pre-gestures per se, much larger than the visible gesture and practices that follow) Entanglements attacks that look like dives swimming like searching arms like trunks Exhilaration of the dynamic life that undermines the meditation of evil don’t know to what kingdom belongs the bewitching batch that leaps out animal or human immediate, without pause already departed already comes the next instantaneous as if thousands and thousands of breathtaking seconds a slow day is ended loneliness does scales the desert, the arabesques multiplication repeated indefinitely Signs signs not of roof, tunic or palace not of archives and dictionary of knowledge but of twisting, violence, jostling but kinetic desire

Signs of rout, pursuit and rage of antagonistic, aberrant, asymmetric surges non-critical signs, but detour with detour and racing with racing signs not for a zoology but for the figure of unbridled demons the accompanists of our actions and the challengers of our reserve Signs of ten thousand ways to find balance in this moving world that laughs at adaptation signs especially to extricate your being from the trap of the language of others made to win against you, like a well-balanced wheel which leaves you only a few lucky shots and ruin and defeat to finish that were written there ahead of time for you, for all Signs not of going backwards but to better “cross the line” at any instant signs not like you rethink but like you drive or, as happens in a big jam when unconscious automaton, you feel piloted Signs, not to be complete but to be faithful to the transitory not to combine but to find the gift of tongues your own at least, if not your own, who will speak it? Direct writing finally for unwinding for the relief of shapes, for the decluttering of images with which the public space-brain is particularly congested at this time For want of an aura, at least disperse its fragrance. Henri Michaux, 1951 Translation © Howard Scott With the permission of the rights holders Henri Michaux and Editions Gallimard

Theater

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Photo: Blaine Davis

Young Jean Lee’s Theater Company Untitled Feminist Show Apr 18–21, 2013

About the artists

Marie Chouinard and the Compagnie Marie Chouinard In 1978, Marie Chouinard presented her first dance work, Cristallisation, establishing her reputation as a highly original artist driven by the need for authentic communication. This first piece was followed by thirty solos, including Marie Chien Noir (1982), S.T.A.B (Space, Time and Beyond) (1986), and Afternoon of a Faun (1987), landmarks in contemporary dance of the past thirty years. In 1990, the soloist-choreographer founded the Compagnie Marie Chouinard, which has now performed more than 1,000 times on all the great stages of the world and participated in the most prestigious international festivals. Chouinard’s works are performed by dancers of exceptional talent, such as Carol Prieur, named Dancer of the Year 2010 by Tanz magazine, and Lucie Mongrain, the solo performer of Etude No. 1 (2001). The Compagnie Marie Chouinard has coproduced its creations with top names in the arts world, including the Venice Biennale, the ImPulsTanz-Vienna International Dance Festival, the Théâtre de la Ville in Paris, the Gulbenkian Foundation in Lisbon, the Fondazione Musica Per Roma in Rome, the Festival TransAmériques at Place des Arts in Montreal, and the National Arts Centre in Ottawa. One of its best-known works, The Rite of Spring, created in 1993, is still performed today. In 2008, 24 Preludes by Chopin, created in 1999, was introduced into the repertoire of the National Ballet of Canada (Toronto) and, since 2010, Prelude to The Afternoon of a Faun (1994) has been performed by the São Paulo Companhia de Dança. In 2011, Les Ballets de Monte-Carlo presented Marie

Chouinard’s bODY_rEMIX / gOLDBERG_ vARIATIONS, Act 1, adapted for twenty dancers. Since 2007, the company has occupied its own work space, Espace Marie Chouinard, Montreal. There, in 2009, after a twenty-year absence from the stage, Marie Chouinard returned with her solo morning glories :)-(:. In 2012, she continued her solo experience with the threehour performance IN MUSEUM. In 2008, Chantier des extases, a collection of her poetry, was published by les éditions du passage. The book was followed in 2010 by Compagnie_Marie_Chouinard_Company, a volume illustrated with numerous color photos, highlighting two decades of creation, culminating in the company’s most recent work, THE GOLDEN MEAN (LIVE). In addition to choreography, Chouinard sometimes designs the scenography and lighting for her pieces, as well as photographs them. Her multimedia and visual creations include Cantique No. 3, an interactive installation with Louis Dufort, and Icônes, a video installation with Luc Courchesne, as well as a film, bODY_ rEMIX / gOLDBERG_vARIATIONS, based on the dance work of the same name. In 2011, she participated in the group show BIG BANG at the Museum of Fine Arts in Montreal with her installation Paradisi Gloria. In 2012 Dessins, a series of visual art works by Chouinard, was exhibited at Galerie Donald Browne, Montreal, and in Toronto at the International Art Fair. Chouinard has received numerous awards for her contribution to the world of dance and the arts: a Bessie Award (2000), the Grand Prix du Conseil des arts de Montréal and the distinction

of Officer of the Order of Canada in 2007, the title of Chevalier des arts et des lettres (France, 2009). In 2010, the Compagnie received the Arts Achievement Award from the Imperial Tobacco Canada Foundation, and the same year Chouinard was presented with the Prix DenisePelletier career award, one of the prestigious Prix du Québec. Marie Chouinard’s name entered the Petit Larousse illustré in 2010 and appears in the 2011 edition of Le Robert. In 2012, The Conseil des Arts et des lettres du Quebec awarded the first CALQ award for best choreographic work of 2011-2012 to Marie Chouinard for THE GOLDEN MEAN (LIVE). Artistic contributors Rober Racine studied literature, art history, and film at the Université de Montréal. His works have been presented in numerous galleries and museums in Canada, the United States, Europe, Australia, and Japan. He exhibited his works at the Sydney Biennial in Australia (1990), the Venice Biennial (1990), and at Documenta in Kassel, Germany (1992). In 2001, the National Gallery of Canada mounted a retrospective of his works. He has published the following novels: Le Mal de Vienne (1992), Là-bas, tout près (1997), and L’Ombre de la terre (2002); a short narrative: Le Dictionnaire (1998); and a dramatic text: Le Cœur de Mattingly. In 1999, he was awarded two prestigious Canadian awards: the Prix Ozias Leduc and the Prix Louis Comtois for the body of his work. Racine has collaborated with Marie Chouinard since 1978. Louis Dufort was born in Montreal in 1970. Trained as a classical guitarist, he became interested in

electroacoustic composition and completed his master’s degree at the Conservatoire de Musique de Montréal. His musical compositions have resulted in several international awards. A regular contributor to Compagnie Marie Chouinard since 1996, he is a member of the artistic committee of the Quebec Association for electroacoustic composition and research (ACREQ). Liz Vandal began her career in 1990 as a fashion designer, quickly establishing a solid reputation. She is a costume designer, make-up artist, and hairstylist and works for film, theater, and dance. She has worked with the likes of La La La Human Steps and Les Grands Ballets Canadiens de Montréal. Vandal has designed the costumes for ten works Compagnie Marie Chouinard’s repertoire. Jacques-Lee Pelletier is an avant-garde make-up artist and fashion designer. Germany’s Mode Trend magazine in reviewing his living sculptures has called him a philosopher and poet of beauty. He works with top directors and specialists in theater, dance, photography, video, advertising, hairdressing, and television, and in addition teaches at the National Theatre School of Canada He has been one of Marie Chouinard’s collaborators since 1987. Marilène Bastien is a BFA graduate from Concordia University and works as a scenographer and costume/ prop designer for dance and theater. She has collaborated with Ginette Laurin, Manuel Roque, Lynda Gaudreau, the Conservatoire de musique de Montréal, and Théâtre LV2. She has designed costumes for Cirque du Soleil’s

homage to Guy Laliberté, as part of their twentyfifth anniversary. She has collaborated with the Compagnie Marie Chouinard as stage manager and costume designer since 2006. Dancers Paige Culley was born in Rossland, British Columbia. In 2010 she graduated from The School of Toronto Dance Theatre, where she was awarded the Hnatyshyn Foundation Developing Artist Grant for Contemporary Dance. She has worked with Antonija Livingstone, Martin Bélanger, Ame Henderson, and Michael Trent as part of Dancemakers, and with Shannon Gillen and Danièle Desnoyers. Additionally, she works as dancer, actor, and vocalist for film and musical theater, and as choreographer and teacher throughout British Columbia and Ontario. She joined the Compagnie Marie Chouinard in 2011. Valeria Galluccio was born in Napoli (Italy). She studied ballet with Annalisa Cernese and she worked as principal dancer in Biennale of Venice for three years in Glass Room, The Waste Land, and Oxygen, directed and choreographed by Ismael Ivo. She worked again with Ismael Ivo for a project in Napoli Teatro Festival, Stravinsky’s Le Sacre du printemps. She joined the Compagnie Marie Chouinard in 2011. Leon Kupferschmid was born in Israël. He studied at the Jerusalem Music and Dance Academy. From 2004 to 2005, he danced for the Scapino Ballet Rotterdam in the Netherland. He continued his training at the Juilliard School in New York. He joined the Compagnie Marie Chouinard in 2009.

Lucy M. May began her dance training at Dance Fredericton in New Brunswick. Her professional studies were completed at L’ École de Danse Contemporaine in Montreal (LADMMI) and the Rotterdam Dance Academy in the Netherlands. She has danced for DanseKparK, la Compagnie Capriole, Meyer-Chaffaud Dance Company, Lucie Grégoire Danse, and Mélissa Raymond, among others. She taught at LADMMI from 2008 to 2009. She joined the Compagnie Marie Chouinard in 2009. Mariusz Ostrowski started his dance training at the Warsaw National Ballet School in Poland. He worked with the National Ballet of Poland, the Ballet Arizona, the Atlanta Ballet, Rubberbandance, and Les Grands Ballets Canadiens de Montréal, where he was first soloist. He joined the Compagnie Marie Chouinard in 2009. Sacha Ouellette-Deguire originally trained as a mime artist. Her stage work includes L’Equipe des Oranges, Compagnie Omnibu, and Compagnie Korimage. He continues to develop his work as a multifaceted artist at the Académie du Ballet Métropolitain with the dancer Alexis Simonot. He joined the Compagnie Marie Chouinard in 2012. Carol Prieur started her career with Winnipeg Contemporary Dancers. She has worked with the Fondation Jean-Pierre Perreault. Grants permitted her to pursue her studies in New York, Europe, and India where she was initiated into Kalarypayattu, an Indian martial art form. Since she became a member of Compagnie Marie Chouinard in 1995, three solos have been created for her:

Humanitas, Étude Poignante, and Movements. She received an Award for Best Performance in Marie Chouinard’s film, Cantique no. 1, at the Moving Pictures Festival of Dance on Film and Video Award in Toronto. In 2010, Prieur was named Dancer of the Year by the prestigious German magazine TANZ. Gerard Reyes received his BFA in Dance from Ryerson University in Toronto in 2003. He danced for Danny Grossman, D. A. Hoskins, Lesandra Dodson, Heidi Strauss, Sacha Ivanochko, Luther Brown, Bill T. Jones, Germaul Barnes, and Noemie Lafrance. Reyes spent a year in Los Angeles studying acting and expanding his hip-hop repertoire with Tovaris Wilson, Kevin Maher, and Redd. He danced for one season with the Compagnie Marie Chouinard in 2006/07 and rejoined the company in 2009. Dorotea Saykaly trained at the Conservatoire de Danse de Montréal with Daniel Seillier and Lucinda Hughuey. She completed her dance studies in Vancouver at Arts Umbrella, training with Arty Gordon, Grant Strate, and Wen Wei Wang. She has worked in Montreal with Les Ballets Métropolitains, Ballet Ouest, and Les Sortilèges. She joined the Compagnie Marie Chouinard in 2006. James Viveiros studied dance, music, and theatre at Alberta’s Grant MacEwan College, where he received the Evelyn Davis scholarship for outstanding performance in dance. He has worked with the Brian Webb Dance Company, Edmonton Opera, and The Citadel Theatre, among others. Moving to Montreal he performed for Suzanne Miller and Allan Paivio Productions. He is one of the

interpreters of the solo Des Feux dans la nuit by Marie Chouinard since 2003. He joined the Compagnie Marie Chouinard in 2000. Megan Walbaum is a native of Calgary and began dancing at the Alberta Ballet School of Dance, before continuing her classical training at the Royal Winnipeg Ballet School. She followed the professional training program in contemporary dance at L’ École de Danse Contemporaine in Montreal (LADMMI). She has danced for Sylvain Émard and Lucie Gregoire. She joined the Compagnie Marie Chouinard in 2010. Compagnie Marie Chouinard Executive and Artistic Director: Marie Chouinard Administration and Financial Director: Bernard Dubreuil Director of International Development: Paul Tanguay Production Director: Nancy Cormier Tour Director: Marie-Pier Chevrette Controller: Monika Gruszka Communications Officer: Christel Durand Artistic and executive director assistant and project manager: Flore Anne Fortier Notator & Rehearsal Director: Natasha Frid Additional Rehearsal Directors: Eve Garnier, Isabelle Poirier, Ami Shulman, Tony Chong, Martha Carter Dancers: Valeria Galluccio, Leon Kuperschmid, Lucy M. May, Lucie Mongrain, Mariusz Ostrowski, Sacha Ouellette-Deguire, Carol Prieur, Gérard Reyes, Dorotea Saykaly, James Viveiros, Megan Walbaum Representation: Julie George (Europe), Cathy Pruzan, Cathy Pruzan Artist Representative (United States), Pilar de Yzaguirre, YSARCA S.L. (Spain), Paul Tanguay (Europe, Asia, America – except United States) Board of Directors President: Marcel Côté Treasurer: Stéphane Leclerc Members: Francine Allaire, Patrick Beauduin, Marie Chouinard, Pascal de Guise, Josette Murdock, Pierre Paquet, François Taschereau, Anik Trudel

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Compagnie Marie Chouinard. Photo: Sylvie-Ann Paré

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Thank You

Generous support for the 2012–13 season of MCA Stage is provided by Elizabeth A. Liebman, David Herro and Jay Franke, Caryn and King Harris, Susan and Lew Manilow, Lois and Steve Eisen and The Eisen Family Foundation, and Mary Ittelson.

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$10,000–$24,999 Nancy Lauter McDougal and Alfred L. McDougal The Weasel Fund $5,000–$9,999 Patricia Cox Pamela Crutchfield Maya Polsky Ellen Stone Belic $1,000–$4,999 Aaron Copland Fund for Music Amphion Foundation, Inc. Leigh and Henry Bienen Greg Cameron Janet Alberti and Fred Schneider Shawn M. Donnelley and Christopher M. Kelly Gale and Ric Fischer Maecenas Susan Manning and Doug Doetsch Herbert R. and Paula Molner $1–$999 David G. Brown Terri and Stephen Geifman Ms. Patricia F. Sternberg Anonymous As of December 2012

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King Harris,  Chair of the Board of Trustees Madeleine Grynsztein, Pritzker Director Janet Alberti, Deputy Director Michael Darling,  James W. Alsdorf Chief Curator

Seating Switch off all noise-making devices while you are in the theater.

Performance Committee Lois Eisen, Chair Ellen Stone Belic Patricia Cox Pamela Crutchfield Ginger Farley Jay Franke John C. Kern Lisa Yun Lee Elizabeth A. Liebman Alfred L. McDougal Paula Molner Sharon Oberlander Maya Polsky D. Elizabeth Price Carol Prins Cheryl Seder Patty Sternberg Richard Tomlinson

Performance Programs Peter Taub, Director Yolanda Cesta Cursach, Associate Director Richard Norwood, Theater Production Manager Cameron Heinze, Manager Antonia Callas, Assistant Kevin Brown, House Management Associate Phil Cabeen, House Management Associate Alicia M. Graf, House Management Associate Quinlan Kirchner, House Management Associate Lucas Baisch, Intern Erik Norwich, Intern Facilities Dennis O’Shea, Manager of Technical Production Box Office Matti Allison, Manager Phongtorn Phongluantum, Assistant Manager Molly Laemle, Coordinator Gabriel Garcia, Associate Charles Hearne, Associate Nicholas Stephens, Associate Program notes compiled by Yolanda Cesta Cursach

Late arrivals are seated at the management’s discretion. Food and open beverage containers are not allowed in the seating area. Reproduction Unauthorized recording and reproduction of a performance is prohibited. Museum of Contemporary Art Chicago 220  East  Chicago Avenue Chicago, Illinois 60611 mcachicago.org General information 312.280.2660 Box office 312.397.4010 Volunteer for performances 312.397.4072 [email protected] Museum hours Tuesday: 10 am–8 pm Wednesday–Sunday: 10 am–5 pm Closed Mondays, Thanksgiving, Christmas, and New Year’s Day