BIOGRAPHIE
Born and raised in Abitibi, Audrée Juteau graduated in 2003 from LADMMI (now known as L’EDCM). A seasoned performer, she has danced for numerous choreographers and companies such as Katie Ward, Deborah Dunn, Estelle Clareton, Sonya Biernath, Jordi Ventura, Aurélie Pedron and the Jean-Pierre Perreault Foundation for the farewell tour of Joe. In 2016 she earned her master’s degree in contemporary dance from the University of Québec in Montréal (UQAM).
Drawn to the creative flux generated by multiple artistic voices in dialogue, Juteau choreographed her first works as a part of the collective The Choreographers, in collaboration with Peter Trosztmer, Katie Ward and Thea Patterson. In 2012, she left to begin a her own choreographic practice exploring the porous membrane that separates life and performance. Her ensuing works, Poisson (2013), Youme (2013), Sam affecte (2015), and Les Strange strangers (2017), all bear the signature of her unique choreographic approach. Over the course of her career, Juteau’s work has enjoyed the support of numerous partners, such as Studio 303, Tangente, CCOV, Mains d’œuvres (Paris), and Vermont Performance Lab, who continue to promote the development of her artistic ventures.
A recipient of the David Kilburn prize in 2015, and the DanceWeb scholarship in 2010 from Jardin d’Europe - ImPlusTanz (Autriche), Juteau has also received recurring support from the Canada and Quebec Arts Councils since she began her career in 2004. In 2018, she founded L’Annexe-A, an artist support organisation and creation centre located in the forest of Abitibi-Témiscamingue, Québec. In a desire to decentralize dance from urban center, it is an incubation centre that invites artists to conduct their research in relative serenity. This is where she is currently working on the first sketches of her newest creation La Mystique informatique.
ARTISTIC APPROACH
The heart of my work lies in finding sensorial and affective experiences, shared between the performers and audience members, that emerge unexpectedly from the alchemy of live performance. I am interested in decentralizing the will of the artist, to develop a new relationship between the artist and her creation, thus opening up new choreographic experiences. In my last two pieces, this decentralization was facilitated by working with a dog. I was interested in the way she inhabited a choreographic world. The dog was considered as a full performer with the same power to affect the audience as his human scene partners. From the decidedly non-human relationship that the dog has with space and time, emerged new choreographic universes that were completely unexpected.
With me last piece Les Strange strangers, I was furthering this choreographic exploration by considering inanimate objects as having the power to affect. Keeping my artistic will decentralized, and through research with self-hypnosis, I was pursuing my goal to create unique and affective choreographic experiences. My work, which lies at the meeting of dance and performance, draws a lot from philosophy. I am interested in creating a somatic language and intuitive approach to the body while maintaining a critical perspective of how the work is in dialogue with its environment.