Of course eating people is wrong. But sometimes it’s necessary.
Our social and evolutionary conditioning is so deep that when imagining possible cannibal scenarios for ourselves – a plane crash in the Andes, say – we like to believe we’d starve before eating a fellow passenger. Yet, looked at rationally, if we were starving and meat, whatever its source, was just lying there, why shouldn’t we eat it? Why can’t we see that left leg as just a piece of meat rather than a piece of Kevin?
Bone in her Teeth, Peter Anderson and Tanya Podlozniuk; photo: Tim Matheson
MARYSE:
I had seen the images for months. Svelte dancers bound and supported by prostheses and canes. They had created quite a stir in the national dance community. It wasn’t just the imagery. I had heard about Marie Chouinard’s new piece bODY rEMIX through various channels, it is a piece that has gathered critical acclaim across Canada.
Body Remix: David Rancourt and Lucie Mongrain Photo: Marie Chouinard
The Electric Company and The Virtual Stage have based their co-production of Jean-Paul Sartre’s 1944 play No Exit on an alluring idea. The stage set for the play is normally a hotel room, where three dammed characters are locked in the hell of each other’s company for all eternity.
Jonathon Young (the Valet, foreground), with Andy Thompson (Cradeau), Lucia Frangione (Estelle) and Laara Sadiq (Inez). photo: Tim Matheson.
If you’re new to the contemporary dance scene in Vancouver, you may not realize that the Experimental Dance and Music (EDAM) studio on the main floor of the Western Front is the centre of the city’s choreographic universe. Many of Vancouver’s top choreographers and dancers have trained or performed with the EDAM company at some point in their careers.
