« My approach to dance is based on listening to the connection between spirit and body that transmits the information as to how, and with what quality to move. »
– Margie Gillis
© Michael Slobodian
« Margie Gillis has fashioned an international career as a unique performer of sensuous physicality and an individual but poetic passion »
– Clive Barnes, New York Post
Margie Gillis is an Honorary Cultural Ambassador for both the Quebec and Canadian governments. In 1988, she was the first modern dance artist to be awarded the Order of Canada. In 2001, she received a Career Grant from the Conseil des arts et des lettres du Québec for her exceptional contribution to Quebec culture. In the fall of 2008, Margie Gillis was chosen by the Stella Adler Studio of New York to receive their first MAD Spirit Award for her involvement in various social causes, and she was awarded the Walter Carsen Prize for Excellence in the Performing Arts by a jury of her peers at the Canada Council for the Arts. In June of 2009, Margie Gillis was appointed Knight of the Ordre national du Québec. In May 2011, she received the Lifetime Artistic Achievement Award from the Governor General’s Performing Arts Award Foundation. In July 2013, she was promoted to an Officer of the Order of Canada.
Internationally acclaimed modern dancer/choreographer, Margie Gillis has been creating original works for over forty years. Her repertoire now includes more than one hundred pieces, which she performs as solos, duets and group pieces. Over the years, Margie Gillis has won over loyal audiences with her masterful interpretation of the different facets of the human soul. Relentlessly, she continues to develop her work through experimenting, teaching and creating.
CHOREOGRAPHER AND DANCER Margie Gillis
MUSIC J.S. Bach, Marianne Faithfull, Eugene Friesen, G.F. Händel, Travis Laplante & Erich Kory
LIGHT DESIGNER Pierre Lavoie
COSTUMES Denis Gagnon, Marie-Claude Jalbert, Anni Khun
& Marie Saint-Pierre
DANCERS FOR THE PREMIERE Adam Barruch, Élise Boileau, Marc Daigle, Caitlin Griffin, Ruth Naomi Levin, Lucy M. May, Troy Ogilvie, Susan Paulson & Neil Sochasky
DURATION : 75 minutes
CREW : 8 to 10 dancers, 1 technician, 1 administrator
SET-UP : One day prior to the show
AUDIENCE SIZE : Small and medium size venues
STAGE DIMENSIONS : Width 43' / Depth 30' / Height 20'-24' under the projectors (13m x 9m x 6.1-7.3m )
- Post-performance talks, workshops with Margie Gillis and other Legacy Project dancers (''Dancing from the Inside out'' workshop, Master Classes, general public workshop and conflict resolution workshop).
- Lectures, demonstrations and conferences
The Evolutions program, a selection of works from Margie’s prolific repertoire, presents solos and group dances impregnated by the individuality and experience of its Legacy Project dancers. Audiences will be offered an entirely singular experience, depending on the composition of the group performing. Spectators will be transported through is a transcendental and transformative adventure for audiences, with the fluidity and distinctiveness associated with Margie Gillis.
THE LEGACY PROJECT
2018 marked Margie Gillis’ 45th year as a creative force, during which she brought to life an astounding 100 original works. The dance community had called on this international icon to share her philosophy, works, performance techniques and pedagogy. In response, Margie created the Legacy Project. The goal : to allow future generations, decades from now, to experience her masterful art, speaking to our humanity and collective soul.
Over fifty international participants got involved in the Legacy Project. Margie has chosen to work with high-calibre professional dancers because of their understanding and commitment to her legacy. These participants include dancers from companies such as José Navas/Compagnie Flak (Montreal), Marie Chouinard (Montreal), Anatomiae Occultii and Paul Taylor (New York), Ballet BC (Vancouver), Dance-makers Dance Company (Toronto) and KUNST-STOFF Productions (San Francisco/Europe).
« The Legacy Project is magnificent, by its values as much as by its gesture. »
– Catherine Lalonde, Le Devoir