Margie Gillis at La Place des Arts for 2 evenings
February 24th 2017
Article about Legacy Project/Projet Héritage of Margie Gillis presented at La Cinquième Salle of La Place des Arts.
- Oliver Koomsatira
The Margie Gillis Dance Foundation will present Legacy Project/Projet Héritage on March 6 and 7 at la Cinquième Salle of La Place des Arts. It will include the choreographer’s most celebrated creations. She will be joined by 8 dancers whom have been selected to contribute to the preservation of her artistic heritage and philosophy "to think and live dance". These dancers from various cities are Adam Barruch and Troy Ogilvie (New York), Marc Daigle, Lucy M. May, Susie Paulson and Neil Sochasky (Montreal), Caitlin Griffin (Vancouver) and Ruth Naomi Levin (Calgary). Margie Gillis tells us a bit more about this undertaking.
Firstly, how did this project come to be? "Alexandra Wells has been a huge instigator in getting me together with dancers who want to work with me, who love my choreography, and who see the rigors behind making something natural on stage. She suggested the Legacy Project and within a week Kate Hilliard and Ruth Levin volunteered to do everything possible to make it happen. We had several meetings while teaching at Springboard and discussing my pedagogy and how to apply it. We also had workshops in New York - the latest at the Stella Adler Studios where we explored dance and conflict resolution. At Springboard 2015 the Legacy dancers and I did a showing of the pieces we had worked on for the Springboard dancers and they overwhelmingly raved about it, so, we decided we should put it on stage. It has taken 3 years to make it to the official Launch, and it is our hope that we will be able to raise both the awareness and the funds to continue this project."
With over 100 creations in her repertoire and a career spanning 4 decades, how does one chose which pieces make the cut? "Dancers ask to learn specific pieces that have a resonance with them. I had a budget for myself, 3 dancers from Montreal, 2 from Western Canada, and 2 from New York. So I chose dancers who, for the most part, had already mastered their pieces, and then I created a program based on that. You will have to come to one of the shows to find out which pieces will be presented!" That being said, having a hundred creations hasn’t stopped her from creating more as she’ll also be premiering new work: "I am premiering 2 new solos. One, which I created for Ruth Levin about losing your centre, and then moving back to a place of centred compassion (a very Buddhist philosophy). The second is an improvisation with Erich Kory, we have been working on it for the past year. And lastly, Complex Simplicity of Love, which is a deconstruction of the original solo work into duets or trios. All the pieces are from different years and shows."
Speaking of the late Leonard Cohen, this project is actually dedicated to him as he was on its Honorary Board as well as being a long time supporter of her foundation: "When I first incorporated the MGDF in 1981 I used a line of Cohen’s as my Company motto “Bless the continual stutter of the word being made into flesh”. Leonard and I knew each other. He was extremely supportive of my work, and I, like countless others, found solace and refuge in his music and poetry, and would often use his music to kick-start myself. My first choreography to Cohen was the Sisters of Mercy in 1977. When we asked Leonard if he would consider being an Honorary Board Member, he jumped in without hesitation. The last time I saw him was in an alley just off boul. St-Laurent and his last words to me were “Keep going Margie. There are so few of us left”. Of course he looked like a raspy sexy dope dealer and I was definitely buying what he had to sell. I still am. Seeing as he is omnipotent now, I expect he can come to the performance and sit wherever he wants."
Firstly, how did this project come to be? "Alexandra Wells has been a huge instigator in getting me together with dancers who want to work with me, who love my choreography, and who see the rigors behind making something natural on stage. She suggested the Legacy Project and within a week Kate Hilliard and Ruth Levin volunteered to do everything possible to make it happen. We had several meetings while teaching at Springboard and discussing my pedagogy and how to apply it. We also had workshops in New York - the latest at the Stella Adler Studios where we explored dance and conflict resolution. At Springboard 2015 the Legacy dancers and I did a showing of the pieces we had worked on for the Springboard dancers and they overwhelmingly raved about it, so, we decided we should put it on stage. It has taken 3 years to make it to the official Launch, and it is our hope that we will be able to raise both the awareness and the funds to continue this project."
With over 100 creations in her repertoire and a career spanning 4 decades, how does one chose which pieces make the cut? "Dancers ask to learn specific pieces that have a resonance with them. I had a budget for myself, 3 dancers from Montreal, 2 from Western Canada, and 2 from New York. So I chose dancers who, for the most part, had already mastered their pieces, and then I created a program based on that. You will have to come to one of the shows to find out which pieces will be presented!" That being said, having a hundred creations hasn’t stopped her from creating more as she’ll also be premiering new work: "I am premiering 2 new solos. One, which I created for Ruth Levin about losing your centre, and then moving back to a place of centred compassion (a very Buddhist philosophy). The second is an improvisation with Erich Kory, we have been working on it for the past year. And lastly, Complex Simplicity of Love, which is a deconstruction of the original solo work into duets or trios. All the pieces are from different years and shows."
Speaking of the late Leonard Cohen, this project is actually dedicated to him as he was on its Honorary Board as well as being a long time supporter of her foundation: "When I first incorporated the MGDF in 1981 I used a line of Cohen’s as my Company motto “Bless the continual stutter of the word being made into flesh”. Leonard and I knew each other. He was extremely supportive of my work, and I, like countless others, found solace and refuge in his music and poetry, and would often use his music to kick-start myself. My first choreography to Cohen was the Sisters of Mercy in 1977. When we asked Leonard if he would consider being an Honorary Board Member, he jumped in without hesitation. The last time I saw him was in an alley just off boul. St-Laurent and his last words to me were “Keep going Margie. There are so few of us left”. Of course he looked like a raspy sexy dope dealer and I was definitely buying what he had to sell. I still am. Seeing as he is omnipotent now, I expect he can come to the performance and sit wherever he wants."
Margie Gillis not only creates shows, but she also has a very specific philosophy in regards to her art and way of life. She tells us a little more about it: "My philosophy is humanistic. In the creative process I try to work in an organic manner, where the subject being explored creates the natural form and architecture of the piece. In my work I try to reveal what is essentially human, what is essentially nature, and I crystallize it so I can ritualize it, so that it can touch the audience in a transformative manner. In three words, my philosophy is humanity, source, and transformation." To insure that her work and philosophy carry on, this is where these 8 dancers come into play: "Dancers learn by being in a space together, where they can feel the full extent of experiential wisdom. We feel not only the physical ability, but the quality and virtuosity of the artistry; the intellect, the spirituality, and the emotional. These dancers work with me to understand my creative process, and my philosophy as well. Some of them carry the work forward intact; some of them take the work and integrate it into their own creative process. Many of them are also learning my teaching methods. It is a horizontal heritage perhaps, more so than linear."
Although Margie Gillis yearns for some time off, she still has many projects keeping her from a well-earned vacation. As you’ll be able to tell, she probably does deserve a day off: "I have not had a real rest in the past 4 years- and I mean no vacations, no weekends off. So I am hoping for a little downtime. Then I am back to teaching and choreographing. I am mentoring 5 solo programs and Adam Barruch, one of the Legacy dancers, is a brilliant choreographer, and has received the rights from Stephen Sondheim to create a dance Sweeney Todd. I am both mentoring, and dancing the part of the Crazy Lady. Marc Daigle and I are working on a Duet. Troy Ogilvie, Paola Styron and I are working on a piece, 3 Aspects, about feminine consciousness. I am also looking to film some of my more recent solos, and writing a book on my teaching with Eleanor Duckworth- Harvard emeritus professor of education. I constantly have new ideas and projects that I would like to develop and share."
Finally, she leaves us with a few words as to what she intends for the future: "My dreams going forward are to continue creating new works and sharing my rep with the public. To create more short films on my philosophy and to have the support of a university that would offer residencies, allowing me to continue my work in Conflict Transformation." For more information about Legacy Project/Projet Héritage, visit Place des Arts’ website. http://placedesarts.com/shows/event.en.html?event.id=18757
Although Margie Gillis yearns for some time off, she still has many projects keeping her from a well-earned vacation. As you’ll be able to tell, she probably does deserve a day off: "I have not had a real rest in the past 4 years- and I mean no vacations, no weekends off. So I am hoping for a little downtime. Then I am back to teaching and choreographing. I am mentoring 5 solo programs and Adam Barruch, one of the Legacy dancers, is a brilliant choreographer, and has received the rights from Stephen Sondheim to create a dance Sweeney Todd. I am both mentoring, and dancing the part of the Crazy Lady. Marc Daigle and I are working on a Duet. Troy Ogilvie, Paola Styron and I are working on a piece, 3 Aspects, about feminine consciousness. I am also looking to film some of my more recent solos, and writing a book on my teaching with Eleanor Duckworth- Harvard emeritus professor of education. I constantly have new ideas and projects that I would like to develop and share."
Finally, she leaves us with a few words as to what she intends for the future: "My dreams going forward are to continue creating new works and sharing my rep with the public. To create more short films on my philosophy and to have the support of a university that would offer residencies, allowing me to continue my work in Conflict Transformation." For more information about Legacy Project/Projet Héritage, visit Place des Arts’ website. http://placedesarts.com/shows/event.en.html?event.id=18757
