Claudia Chan Tak

Entre-Deux

  • Entre-Deux is a danced mapping of Meihan’s search for identity as a young woman of Chinese origin adopted internationally. Oscillating between two cultures and two realities, she navigates a series of duets that probe her roots and reveal the multiple layers of her identity. Each encounter brings forth a reflection, a resonance, a sense of intimacy. In a spirit of sisterhood, six dancers inspire her to uncover a forgotten or hidden part of herself by sharing the stage and their own experiences. This piece, born from her collaboration with Claudia, carries the trace of an intimate and artistic dialogue between the dancer and the choreographer. Together, they weave a sensitive narrative of ruptures and connections, where the body becomes a territory of reminiscence, exploration, and transformation. 

    • Choreography Claudia Chan Tak

    • Ideation, performance and collaboration in choreography Meihan Carrier-Brisson

    • Performance and collaboration in choreography Mary-Lee Brunet, Chanel Cheiban, Noguaye Dubois, Emmanuelle Métivier (Emmötionnal Damage), Coralie Plante, Jeanne Théroux-Laplante

    • Sound design Elsasoa Jousse (NGL Flounce)

    • Lighting design Tiffanie Boffa

    • Costumes Jessica Poirier-Chang

    • Rehearsal direction Jessica Serli

    • Dramaturgy Dédé Chen

    • Makeup Natacha Filiatrault

    • Financial Support Canada Council for the Arts, Conseil des arts et des lettres du Québec, Conseil des arts de Montréal

  • When the time comes, the shadows fade, and the musicians emerge against a backdrop of insect sounds to begin this encounter, which unfolds in a series of solemn yet magical moments. […] Joining her on stage, alongside the two musicians (Jackson Jaojoby and Benjamin Kamino), are four women performing a deeply captivating ritual! And when Claudia steps forward to don her garments that command the space, there is pure magic in the air. It is difficult—if not impossible—to put into words the poetry of her gestures and the symbiotic relationship she shares both with the insects of Madagascar (discovered during her residency at the Insectarium) and with her family memories. These can only be felt rather than described. […] In the end, it is an encounter rich in both form and solemnity—thank you, Claudia, for this generous sharing!

    Surprisingly, my notebook remains blank. Sitting on the steps, I am captivated (yes, truly captivated!) by what I witness. It begins with fingers tracing the floor, as if to leave a mark and set out on a journey through an in-between space. A search for identity, as suggested by the short description. This theme resonates throughout the work, particularly in the duets, which beautifully explore various forms of interpersonal in-betweenness and the emotional connections that emerge. There are words that try to explain certain realities, but sometimes, in all simplicity and precision, gestures speak louder. And in this entrance hall—a threshold between the outside and the inside—Claudia Chan Tak succeeds in making us feel what words cannot express. Once the performance ends and the well-deserved applause subsides, I cannot help but congratulate the artists behind these moments […].

    —Robert St-Amour, Sur les pas du spectateur (March 19, 2024)