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Home : Program : Multidisciplinary |
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NORMAN (a Tribute to Norman McLaren) - Canada
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| Time : |
Oct 26(Mon) 20:00Oct 27(Tue) 20:00 [CA] |
| Venue : |
Daehangno Arts Theater |
| Ticket Price : |
General R : 50,000 won S : 40,000 won
Y/S R : 30,000 won S : 20,000 won |
| Director : |
Michel Lemieux, Victor Pilon |
| Choreographer : |
Peter Trosztmer |
| Company : |
lemieux.pilon 4D art |
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Come and enjoy the incredible depth of 4D as spectacular performances unfold before your very eyes. With his boundless sense of creativity and constant experimentation, Norman McLaren represents animation in its purest form. Meet him through the 4D art directors, Michel Lemieux and Victor Pilon, two of the most creative and advanced directors in Multidisciplinary high-tech in Canada. |
"A Fantastic Dedication to Norman McLaren"
The latest work by Lemieux.pilon 4D art, 'Norman' is an overflowing amalgamation of reality and fantasy, drama, dance, and imagery. It represents, in essence, state-of-the-art stage art of the 21st century. Working closely together, Michel Lemieux and Victor Pilon have incorporated the latest technology into this performance with ease to produce a certain chaos that blurs the boundary between reality and fantasy. The inspiration and work of the great Canadian film animator Norman McLaren are brought back to life.
Peter Trosztmer, the choreographer and dancer in Norman, is drawn increasingly into the world of Norman McLaren through magical techniques portrayed on stage. The works by Norman McLaren tend to be expressed through three-dimensional imagery. In this case, Lemieux and Pilon conjoin the imagery of his work with Trosztmer's movements on stage to add a new perspective to Norman McLaren's work. Beautiful in a non-conformist way, Norman McLaren's works fill up the entire stage along with the optically-awe-inspiring multi-media; the stage slowly turns into a space for magic. Sophistication brought about by the employment of state-of-the-art technology and the dynamism of Trosztmer is enough to tantalize and satisfy the five senses of the audience.
For those not familiar with the works by McLaren, the whole scene may appear to look a bit over the top. But, for those aware of the contribution McLaren made to the development of the world of animation, they will understand that this is simply a boisterous celebration of and dedication to his works. This performance is far more than just a biographical review of McLaren; it is an opportunity to enjoy the waves of movements in the world of imagination that lie way beyond imagery.
** Norman McLaren
Norman McLaren was at the forefront of the world of animation even before the start of World War II. He quickly built a reputation for creativity, technical finesse and refined sensibility and set up the animation department at the NFBC in 1941. During the war, he made a short film to boost the morale of Canada by using innovative techniques such as drawing on top of or coloring the original films. He began his innovative career in earnest in 1957 with A Chairy Tale that brought life to inanimate objects. In Blinkity Blank (1959), he actually scratched at, drew and colored on top of the film. In Pas de Deux (1968), he printed real film and overlapped it with fine movements of a dancer. His numerous attempts at innovation encouraged and inspired numerous producers that followed him. The success of the next-generation in the world of animation in Canada can be attributed, in great part, to the dedication and experimental spirit of Norman McLaren.
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Don't be hesitant by your lack of knowledge of the great animator, Norman McLaren because Lemieux and Pilon are more than ready to reveal his unique world to you. For some people today, the once innovative animations by McLaren may appear to be outdated and somewhat left over from the analogue world. In short, they may seem classics fro a bygone era in the world of animation. What brings his animation back to life on stage, however, is the latest in image technology masterfully applied by Lemieux and Pilon's sophisticated sense of style and technique. The high-tech images that cross over to four-dimensional spheres help break down the walls between time and space. Through special optical and dramatic sound effects that are harmoniously merged into a simulated world, Lemieux and Pilon make use of the most sophisticated technology available to take the audience on a journey through the world of imagination.
Furthermore, the piece is a showcase of perfect harmony between imagery and performance arts. Trosztmer, the choreographer and dancer in this piece, has forged concrete forms to the work through his interviews with those who knew McLaren's works well. He even goes so far as to converse with them on stage. For example, he runs toward abstract lines and starts dancing with wooden chairs. By opening up the Pandora's box of fantasy that is live and moving, he expresses works by McLaren through dance. He shows a well-orchestrated performance that is without fault. The dynamic dance by Trosztmer in combination with the images from McLare's Blinkity Blank (1955) to Pas de Deux (1968) make us realize anew what transcendental beauty of time might be.
The audience will have the pleasure of entering a new world in performance by meeting, dancing and conversing directly with the protagonists in McLaren's works as he opens up the door to the stored records of McLaren. Experiencing images of a dream is one way to come into contact with the eternal humanism that lives through McLaren's works. |
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| Choreographer |
- Peter Trosztmer
After studying classical ballet, Peter Ttrosztmer studied at the University of Concordia in Montreal and moved to Toronto. He underwent a training program at the School of Toronto Dance Theater and has steadily participated in solo performances and other independent projects. He has also worked with dancers such as Compagnie Flak, Sharon Moore and Marie Gillis. His latest collaboration is Norman. |
| Director |
- Michel Lemieux
Ever since graduating from the National Theatre School of Canada in 1979, Michel Lemieux has been pursuing his creative drive as director, musician, composer, actor, stage designer, stage director and image director. His highly technical finesse along with his unique ideas has allowed him to work on major events and performances sponsored by the city of Montreal. Deemed as one of the best in high technology, Lemieux has been involved in Lemiux.pilon 4d art over the past two decades.
- Victor Pilon
Having gained a BA in photography from the University of Ottawa in 1983, Victor Pilon has ever since been working as artistic director, stage designer, visual artist and photographer for stage and installation art exhibitions and major events. His talents have placed him to be nominated as the photographer laureate of Canada. His works are exhibited at the National Archive of Canada and the Arts Conservation Association of Canada. His entire work was published in 1988. In 1990, he joined Lemieux.pilon 4d art as stage designer and artistic collaborator. He has shown his innovative vision from Free Fall (1991) up to the latest, Norman (2007) directly to the audience. Often dubbed as the first generation multi-genre creative artist, Victor Pilon is very active on all art fronts. Some of his installation pieces have been exhibited in major cities in Canada including Montreal and Quebec. |
| Company |
- Lemieux.pilon 4d art
Lemieux.pilon 4d art was formed in 1983. Based in Montreal, the company works with diverse genres. It has been involved in over 400 performances that are experimental and avant-garde in nature using multi-media. Earlier works such as L'Oeil Rechargeable (1982), Solide Salad (1984) and Mutations (1986) brought international fame to Lemieux. The top visual artist, Victor Pilon, joined the company later on in 1990 as joint artistic director to produce Free Fall (1991), Grand Hôtel des Étrangers (1995), Pôles (1996), Orféo (1998), Anima (2001), La Tempête (2005) and Norman (2007).
http://www.4dart.com/ |
| Staff |
A show by : Michel Lemieux, Victor Pilon and Peter Trosztmer
Script : Thea Patterson and Michel Lemieux, Victor Pilon, Peter Trosztmer
Choreographer : Peter Trosztmer, Thea Patterson
Concept/Media design/Staging and Editing : Michel Lemieux, Victor Pilon
Set/Costume/Props Designer : Anne –Séguin Poirer
Light Designer : Alain Lortie
Sound Designer : Michel Smith
Graphic Designer : Ottoblix
Production Manager : Normand Vincent
Technical Director : Michel Daudelin
presented in association with JOHN LAMBERT & ASSOC. (Montreal), international agent (www.johnlambert.ca) |
| Cast |
Peter Trosztmer |
Reviews
“A love-laden tribute to the late Scottish-born, Canadian animator and filmmaker Norman McLaren, 4D art’s production dazzles in its intensity and vision. Prior to seeing this, I knew nothing of McLaren’s work. Within minutes I was a rapt student. […] Norman is a constant visual wonderment that illustrates perfectly and joyously the beauty and scope of McLaren’s work.”
- Nione Meakin, THE ARGUS, Brighton, United-Kingdom, May 8, 2008
“Lemieux and Pilon have once again succeeded in enchanting the audience. Not only does their virtual magic convey the poetry and intelligence of McLaren, it also reiterates the significance of unfamiliar works.”
- Christian Saint-Pierre, Voir, Montréal, December 13, 2007
“The show was imaginative, ingenious, unique and, one might even add, wondrous. About a third of the way into the production, I was thinking that I wanted everyone in the city to experience this masterful fusion of live action and film. [...] How NORMAN was put together is pure genius. The creators have had to balance information about McLaren’s life and work with the more imaginative aspects of the Trosztmer/McLaren interface. Trosztmer also must be exactly in position for the live action/virtual reality to work. It is mind-boggling how it all happens.”
- Paula Citron, Globe and Mail, June 3 2007, Toronto, Canada
“NORMAN is a 100-minute visual that illuminates the brilliant machinery of Norman McLaren’s imagination. NORMAN is so good, it almost channels McLaren back to life, and creates fantastic theatre that makes it hard to separate from reality -- particularly in the hands of the charismatic Trosztmer, who interacts so naturally, despite the technical demanding production.”
- Denis Armstrong, Ottawa Sun, April 28, Ottawa, Canada
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