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Mélanie Demers is faithful to this dark humor and this slightly provocative sweet-bitter flavor, which caractarize her works so well.
M. Carpentier, Le Devoir, Sept. 16
Demers brings her social conscience to the dance scene with a highly creative work that manage to juggle the strange, the political and the humorous without ever dropping the balls. A call to action that is fuelled by the power of imagination.
S. Verstricht, Indyish, Jan. 08
Demers […] ventures into the less frequented roads.
S. Brody, La Presse, April 07
About ANIMAL TRISTE (2016)
In this piece, the choreographer seems to be restraining herself, editing her material with a certain ruthlessness, yielding to neither her mannerisms nor strengths. […]The result is a pivotal work.
C. Lalonde, Le Devoir, Feb. 17
For this Demers has devised a series of captivating gestures, threatening to explode, in which the primal/animal identity seem to be brought under control by an awareness that twists and contorts the body, placing it in a state of constant imbalance.
I. Gagnon-Paradis, La Presse, Feb. 17
With Animal triste, it is the transience of identities, the erosion of egos and of the humanity of past, present and future that is so strongly felt by the audience.
M. Mazo-Rothenbühler, Danscussions, Feb. 17
About LES ANGLES MORTS (2006)
[…] For the brave questioning of the role of the artist […] For the emotional charge and coherence of a piece full of images and moods signed Mélanie Demers […]
F. Cabado, Voir, Dec. 07
Mélanie Demers does not waste a single second in submerging us in her world […] It is very difficult to qualify or even quantify Les Angles Morts because it works at such an experiential level that discussing it inevitably feels futile. The only way to truly appreciate it is to experience it. It will move you to action, and even maybe to creation.
S. Vestricht, Indyish, April 07
About SAUVER SA PEAU (2008)
A fine creation… which has the mysterious depth of deams and the lucid intelligence of consciousness.
M.-C. Scholl, Dfdanse, Feb. 08
A joy to watch.
S. Brody, La Presse, Feb. 08
A signature in the movement and in the structure of the physical and emotional space. A political, poetic, urgent and necessary declaration. A hyperawareness of what representation is, both its magic and its restricted impact. These are all signs of intelligence that make Junkyard/Paradise a damn beautiful mess. Mélanie Demers is becoming a great choreographer. Well done!
C. Lalonde, Le Devoir, Jan. 11
Mélanie Demers, artistic director of the company MAYDAY, has fire in her belly and she’s created a vital and provocative piece, Junkyard/Paradise.
P. Szporer, The Dance Current, Jan. 11
Demers’s work reflects her questioning of theatre’s social role throughout the ages.
V. Svoboda, The Gazette, March 13
Goodbye first fascinates by its labyrinthine structure, like distorting mirrors where the same scenes are being replayed and are becoming increasingly crazy, spooky and phantasmagorical […] the genius of Demers resides in this finely thought structure […] her works are intelligent, unconventional, daring and fascinating.
I. Gagnon-Paradis, Dfdanse, June 12
About WOULD (2013)
We can only applaud the consistency of the choreographic language of Mélanie Demers, the excellence of the two interpreters and the address with which the bilingual text has been included.
L. Renaud, Apr. 15
No wonder WOULD has earned Marc Boivin an award for his performance as well as nominations for choreography and sound design.
I. Gagnon-Paradis, La Presse, Apr. 15
We feel that Mélanie Demers, in dialogue with both career interpreters, touches the core of his approach: the power of words relieved of any story of temptation, the game in line to dance, without any pretension.
F. Doyon, Le Devoir, Apr. 15
Somehow, we see both the victories and the defeats at the same time, and that is Demers’ greatness as a choreographer.”
P. Citron, The globe and mail, Sep. 13