The dancers moved and talked and expressed themselves in a mime form. They integrated words with/of their dance and actions. The dancers jump over and under metal beds in an intense dance form which was very fast-moving and surreal with many emotions presented. Since they had combined mime and dance, there was a very thin line between the two and you could barely see which one is played where. There also was a dance form of there what was contemporary dance. Contemporary dances is a type of dance style that’s very expressive, and combines several sorts of dance like modern, jazz and classical ballet. Contemporary dancers try to make the mind and body as one to have more control of the body and to feel everything. The dancers did an amazing job combining the dance with the music, everything that was around them in the set and the story. They also used a kind of viewpoint that’s called Kinesthetic Response in which the dancers movement occurs right away because of some outside trigger. The performance made me think about how harsh life would have been in his time with all the troubles like the war going on, the battle between with sexes, and personal life problems. Maheu had a significant amount to handle throughout the show and I can understand why he would get to the pot where he did not want to live anymore.
Throughout his journey, he experiences play and emotion as told through various channels such as dance and music which ranged from erotic to violent. There was also the idea of war violence that was shown through dance. The dancers collided with each other and on the walls, and the walls being the wall of shame, that was made by the cruelty that came across the passions between male and females.
In the beginning, while Gilles Maheu was sitting on a metal bed frame, trembling and he held a gun to his chin, contemplating suicide. As the show progresses, there are body’s floating and flying over Maheu, at this point he is thinking and reflecting on his stormy days which brought him to the moment of self-destruction. The beds that the audience notices at this point, provides the actors an opportunity to develop their character and aid as a stage to come together with other dancers and interact with them. The bed’s role can be to act as vehicle’s, or tools for or of dangerous barriers and they create an area around them that serves as an allusion to a past and present in chronological range.
This play was first performed in Chicago in 1988 with a couple different other plays in the International Theater Festival. The play took place in a dormitory in a half-lit room. Around the dormitory, there were windows, beds, linens, and garments that had been taken off from the bodies.
This company started off in 1981, with some help from Pain blanc. Over the 24 years that they have been running, they have made 22 very diverse theater shows and all of those remarking on the current day culture in their time. Le Dortoir finally came out in 1988 and was one of the greatest hit shows that they had ever produced. For 4 years between 1989-1991, it traveled around in North and South America, Australia, and Europe. Later on, Le Dortoir also became a television show and that was very successful as well and won several prizes like the New York Emmy for Best Performing Arts Program. The show was so successful that it was the very top in its category for music and its images, and it took awards in those categories at the 1992 International Festival of Audiovisual Programs at Cannes in France. There were a lot of truehearted performers in the Montreal region. Carbone 14 hired a lot of them based on their challenges and how they would perform in the role the director wanted.
For the dance part of the company, there are two people that came together to make it possible, these two people are Snelling and Claude. Snelling and Claude both have some background in theater and dance which helped create Le Dortoir and make it as successful as it was. Snelling was a dancer, so his main role in the play was to choreograph it and Claude’s role was more related to the acting part of the play, where she directed how the acts should be correctly performed. Claude also mentions that whenever she see’s someone performing, she gets touched by the performance. Everything about the performance touches her, the eyes, the gestures, how they move, etc. Carbone 14 is the theater company which was first founded by Gilles Maheu and originated in Montreal. Maheu got the inspiration to create this company from a show where he performed in called Les Enfants du Paradis, where they were acting out in a mime oriented way. Maheu’s theatre was one of emotion and physicality in which movement, environment, and circumstance played greater roles than in text.
The play Le Dortoir was performed by a group of people. The main character, Gilles Maheu, started off by sitting on an old metal bed frame which looked like it came from a hospital at that time in 1988. There was a total of 12 other performers from the Carbone 14 company which included 6 males and 6 females. Being athletic was a requirement for these performers as there was a lot of gymnastic movement throughout the performance, such as; jumping, leaping and rolling.