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SOUNDGLIDING: Music and Dance - Registry Theatre

  • Registry Theatre 122 Frederick St Kitchener, ON, N2H 2L9 Canada (map)
 Brendan Wyatt  credit: Ed Hanley

Brendan Wyatt  credit: Ed Hanley

Is there a glimmer of sound you can see as it unfolds? Is there a hint of music hidden in every phrase of dance? Our #BTE15 mainstage show offers both an eye and ear into the fascinating intersections between music and movement. Join us for a night of SOUNDGLIDING.

25/15 advance, 30/20 at the door. ADVANCE TICKETS AVAILABLE HERE

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Choreographer and dancer Marie-Josée Chartier takes a lighthearted but action-packed look at James Brown, seen through the plunderphonical eyes of Open Ears frequent provocateur John Oswald.


Lori Freedman improvises music in the moment, while Marc Boivin improvises dance. Adding another layer of spontaneous creation, James Harley captures and filters sound, while video of Boivin is captured, processed and projected by John Creson and Adam Rosen.


One of Marie-Josée Chartier’s most arresting and physically demanding choreographies, Montreal’s Brendan Wyatt will dance Study for a Crouching Figure at Between the Ears. This extraordinary solo is set to and equally extraordinary score by Rodney Sharman, an unrelenting sonically brutalist landscape for amplified string quartet and piano. Featuring Jeremy Bell, Leslie Ting, Jody Davenport, Miriam Kroeker-Stewart and Gregory Oh.


Choreographed by Vancouver’s Sarah Chase in creation with Andrea Nann, with music by Antoine Bedard and Justin Rutledge, this work performed by Andrea Nann combines stories of hope and heartbreak with intricately recurring gesture loops.




A generous and prolific dancer whose career has spanned nearly 25 years, Marc Boivin has worked and performed in Quebec, Canada and abroad. The evocative power of his numerous appearances on stage has been repeatedly acclaimed by audiences and critics alike. He began his career in 1982 with Ottawaʼs Groupe de la Place Royale, under the direction of Peter Boneham, and has since lent his interpretive qualities to many choreographers and projects. He joined O Vertigo, under choreographer Ginette Laurin, in 1985, participating in the companyʼs earliest creations and in several tours in Canada, the United States and Europe. He began to work as a freelance ar t i s t in 1991. Many renowned choreographers such as Louise Bédard, Sylvain Émard, André Gingras, Jean-Pierre Perreault, Dominique Porte, James Kudelka, Tedd Robinson, Felix Ruckert and Catherine Tardif have since solicited his talent and skill as a dancer for their works. Over the years, Boivin has also taken part in numerous improvisation projects, which have proven to be determining influences in the artistʼs trajectory. Indeed, these experiences have inspired his own passion for choreographic creation and shaped the quality of imagination that he brings to his pieces. In 1999, Marc Boivin was awarded the Jacqueline Lemieux Prize by the Canada Council for the Arts.

While Marc Boivin has long evolved as a performer, giving shape and meaning to the languages of different choreographers, he has also developed a marked interest for creation. His fascination with human beings nourishes his desire to explore a choreographic vision and voice of his own. His first choreographies were realized in the context of teaching activities, commissioned by prestigious schools in Winnipeg, Toronto and Montreal. These gave rise, among several other pieces, to La Fracture, a dance created for LADMMI students in 2006 and subsequently remounted at the Royal Winnipeg Ballet School, where he also created Aria. Between 2004 and 2008, he created solos for two professional dancers, respectively To Somewhere else for Jolene Bailie (Winnipeg) and Between here and now for Jennifer Dallas (Toronto), as well as the group piece Fragments, for Code Universel in Quebec City.

Marc Boivin is highly involved in the contemporary dance milieu, and has played an influential role in its emancipation on the larger art scene. He is President of Fondation Jean-Pierre Perreault since 2005, and was a member of the Conseil des Arts de Montréal from 2006 to 2010 and RQD president from 2010 to 2014.


Qualified as “a musical revolutionary in the front ranks of the avant-garde” by Alex Varty of the Georgia Straight (Vancouver), Lori Freedman (clarinets) is internationally recognized as one of the most creative and provocative performers. She is a member of a select group known as “renaissance musicians ” as her artistic activities cover many fields: performer of written music (well over one hundred works have been written for or premiered by her), composer, improviser, teacher, and on occasion, writer. While managing a full performance schedule of more than 75 public appearances a year, Freedman has been receiving commissions to write music for ensembles such as Orkestra Futura, Arraymusic Ensemble, Ensemble Transmission, Continuum Contemporary Music Ensemble, Ensemble SuperMusique, Ensemble Paramirabo, Upstream Orchestra, Queen Mab Trio, Crowbar Trio, Lott Dance, Oberlander Films, Foresite Theatre, Cooke Productions and Autumn Leaf Productions. Her current discography comprises 59 recordings, the most recent of which include Greffes (Empreints digitales), On No (Mode records), Bridge (CQB/DAME), Plumb (Barnyard Records), 3 and À un moment donné (Ambiances Magnétiques), Huskless! (Artifact), See Saw and Thin Air (Wig). Highlight collaborations include work with Rohan de Saram, Barre Phillips, Helmut Lachenmann, Frances-Marie Uitti, Monique Jean, Joëlle Léandre, Axel Dörner, George Lewis, the Jack Quartet and Richard Barrett.

MARIE-JOSÉE CHARTIER, dance and choreography

A multi-faceted artist, Marie-Josée Chartier moves easily between the worlds of dance, music, opera and multi-media in the roles of choreographer, performer, director, vocalist or teacher. Her choreographic repertoire of thirty-five works is greatly influenced by contemporary visual art, music and literature in terms of concept, composition and dynamic structure. From there, personal themes weave themselves to create works that try to decipher, expose or deconstruct the vulnerability of human beings.

These choreographic works have been presented nationally in dance series and festivals such as the Canada Dance Festival, Dancing on the Edge, New Dance Horizons, Tangente, DanceWorks, and abroad in Potsdam, Prague, Vienna, Paris, Gent, Singapore, New York, Bogotà, Mexico and Santo Domingo. Ms. Chartier has received numerous choreographic commissions from solo artists and companies notably Vestige for Toronto Dance Theatre, fifty-one pieces of silver for Dancemakers, étude pour deux mammifères for Kaeja d’Dance, La Lourdeur des Cendres for Four Chambers dance project and How to Wrestle an Angel for Old Men Dancing. Her work has been the subject of documentary films shown on national television and in diverse film festivals.

She is the recipient of numerous grants and awards notably the 2001 K.M. Hunter Artist Award, nine Dora Mavor Moore Awards nominations in categories of choreography, direction and performance, a finalist for the Muriel Sherrin Award from the Toronto Arts Foundation honoring International Achievement in Dance. She won the 2002 Dora for fifty-one pieces of silver and shared with the multi-disciplinary collective URGE two Dora awards for And by the way Miss. Since 2000, Marie-Josée Chartier has been active as a choreographer and director in music, multi-media and opera productions and collaborates regularly with Queen of Puddings Music Theatre (Sirens, Echoes, Love Songs), the Gryphon Trio (Constantinople), Toca Loca and l’Ensemble Contemporain de Montréal as a resident director since 2005.

JOHN CRESON and ADAM ROSEN, video improvisers

John Creson and Adam Rosen have worked together as actors, singers, performers, writers, choreographers, directors, teachers, sculptors, painters, animators, illustrators, designers, filmmakers, puppeteers, and improvisualizers. They have made several independent, experimental short films and videos(screened at the likes of Cinematheque Ontario, the Images Festival, the Toronto Animated Image Society, the AluCine Festival, Nuit Blanche Toronto, and the Cine Design Festival in Brazil) which explore their ongoing interest in the improvisational shooting of abstract real-time performance. In recent years they have expanded their involvement with the improvisational music community (long running performance with Christine Duncan's Element Choir, and with the Toronto Improvisors' Orchestra, among others) to include an improvised visual component - or IMPROVISUALS. As IMPROVISUALIZERS they have perfomed with, among many others: William Parker, Daniel Carter, Michael Snow, Alister Spence, Adele Armin, Aisha Sasha John, Arthur Bull, Bill Gilliam, Branko Džinović, Casey Sokol, CCMC, DB Boyko, Gil Delindro, Glen Hall, John Gzowski, John Oswald, KAZE, Michael Fischer, Nobi Kubota, Nilan Perera, Odradek, Parmela Attariwala, Paul Dutton, Raphael Weinroth-Browne, Robert Aitken, Roman Stolyar, Shahriyar Jamshidi, Ted Phillips, Tim Crofts, and Wendalyn Bartley. As IMPROVISUALIZERS (creators of improvised visuals that accompany, incorporate and play off of improvised music and dance) John and Adam have been a regular feature of the at-least monthly series known as Audiopollination ( currently based out of Array Space (

JAMES HARLEY, live audio manipulation

James Harley is a Canadian composer presently based in Ontario, where he teaches at the University of Guelph. He obtained his doctorate in composition at McGill University in 1994, after spending six years composing and studying music in Europe (London, Paris, Warsaw). His music has been awarded prizes in Canada, USA, UK, France, Poland, Japan, and has been performed and broadcast around the world. Some of Harley’s compositions are available on disc (Artifact, ATMA, Centrediscs, Dame, Kappa, McGill, Musicworks, PeP, Soundprints) and his scores are primarily available through the Canadian Music Centre. He has been commissioned by, among others, Codes d’Accès, Continuum, ECM, Hammerhead Consort, Kappa, Kore, New Music Concerts, Oshawa-Durham Symphony, Open Ears Festival, Polish Society for New Music, SMCQ, Transit Festival Leuven, Transmission, Trio Phoenix, Vancouver New Music. He composes music for acoustic forces as well as electroacoustic media, with a particular interest in multi-channel audio. As a researcher, Harley has written extensively on contemporary music. His book, Xenakis: His Life in Music (Routledge) was published in 2004. As a performer, Harley has a background in jazz, and has most recently worked as an interactive computer musician, notably in the duo ~spin~ with flutist Ellen Waterman.

ANDREA NANN, dance and creation

Andrea Nann is a Toronto-based contemporary dance artist and artistic director of Dreamwalker Dance Company. Andrea creates works for the stage, film, and outdoor sites. Her work investigates contemporary approaches to creation and explores the translation of experiences through collaboration with artists and producers from all artistic disciplines. She is currently a visiting artist at River Run Centre (Guelph), Burlington Centre for the Arts, and Brock Centre for the Arts (St. Catharines). She was a Resident Artist of Soulpepper Theatre Company (2009-2014), Canadian Contemporary Dance Theatre (2008-2009), The Grand Theatre Kingston (2013-2015) and was the Iris Garland Visiting Choreographer at Simon Fraser University (2012).

Andrea was a member of Danny Grossman Dance Company from 1988-2003 where she created, performed and taught major roles from the works of Mr. Grossman and guest choreographers. Andrea is currently a member of Peggy Baker Dance Projects, a guest artist with Astrid Dance, Volcano Theatre and Modern Times Stage Company.


Dora award winning performer and nominated choreographer Brendan Wyatt has collaborated and performed in over 150 original works by a multitude of Canada's most exceptional and exploratory choreographers. Recently he was seen performing in and co-choreographing Sleepless Night with Andrea Nann for Dreamwalker Dance Company in a commission by the Glenn Gould Foundation at the Sony Centre for the Performing Arts and performing the seminal solo 'study for a crouching figure / étude pour silhouette accroupie' by Chartier Danse at the opening of Francis Bacon and Henry Moore: Terror and Beauty at the Art Gallery of Ontario. In 2014 Wyatt featured in two short films Travellers 3D and Father, the latter making its premiere at TIFF. Wyatt is a 2015 KM Hunter Award nominee in Dance.