Amélie Rajotte

Amélie Rajotte has an interdisciplinary approach that explores philosophical concerns and a fascination with human behaviour. She is interested in body and muscle memory, and the artistic potential of the body fully engaged with its immediate environment. A keen observer of everyday life, she develops her works around a repertoire of specific gestures or actions removed from their usual framework, deconstructing and metabolizing them by means of repetition, multiplication, accumulation and distortion. Driven by a desire to sublimate the most banal gestures so as to reveal their poetic power, she employs performative or more conventional forms to lead spectators into strange, bizarre worlds that they can imbue with their own particular narratives.

Amélie Rajotte works in the contemporary dance field as a choreographer, performer and teacher. Her works include In Fact, I’m Gross (2009), Tenir debout (2009), The Squirrel and the Mirror (2011), Carnaval (2014) and Bernard Remix (2015). In 2017, she received a CALQ choreographic residency at Fabrik Potsdam, Germany. In addition to creating her own works, Amélie Rajotte has worked as a performer on projects (performances, research, creations) by the likes of Karine Denault, Sylvain Émard (Super Méga Continental), Lynda Gaudreau, Sarah-Ève Grant-Lefebvre, Hélène Langevin, Karina Iraola, Lara Kramer, Normand Marcy, Andrée Martin, Brice Noeser, Pierre-Paul Savoie and Jessica Serli. After graduating from the Conservatoire National de Grenoble, Amélie Rajotte went on to complete a teaching diploma in contemporary dance (Diplôme d’État de professeur en danse contemporaine) at Cefedem de Normandie, and in 2017 she obtained a master’s degree from the Department of Dance at the Université du Québec à Montréal. As part of her training, she worked with Nadine Beaulieu, Dominique Boivin, Sylvain Groud, the Quatuor Albrecht Knust, and Bruno Meyssat.

Amélie Rajotte is a co-founder and member of Lorganisme.

Portrait de la chorégraphe Amélie Rajotte

Amélie Rajotte © Alex Tran