La marche du crabe is a company dedicated to researching and creating live performances specifically tailored for early childhood and young audiences. It advocates for a close sensory approach, tailoring every aspect of its creations to the needs of its diverse spectators.
At the intersection of circus arts, dance, and theater, accompanied by the symbolism of stage props, the creations establish themselves as intimate acts seeking to renew the dialogue between artists and spectators.
La marche du crabe takes the stance of addressing sensitive themes openly to all its audiences, from infants to adolescents, from adults to seniors. Embracing the unpredictability of the moment, the company orchestrates improvised performances, focusing on the execution of an action, its authenticity, and its significant impact.
Its immersive environments, on-site encounters, and close-proximity shows with the audience foster an intimate connection, an emotional resonance, and symbolics, grounded in the surrounding reality.
In doing so, La marche du crabe nurtures its creative processes through cultural mediation encounters to confront and confirm the direction of the work; from tone to aesthetics, from storytelling to staging.
The company designs arts awareness workshops to reach its audience, preparing or extending their engagement with its works. Participants are guided to explore the expressive capacities of their bodies and voices, sharing their creativity and imagination, fostering an exchange that promotes a sense of community.
Eco-responsibility, mentoring, and resource-sharing drive their actions.
The year 1985. Sandy spins her choreographies and costumes for productions at the entrance of the garage. From her town community center to the Department of Contemporary Dance at L’UQAM, she uses the vocabularies of dance to create connection with others. Her work as a dancer combines improvisation (Les Explositions, the Rien de prévu collective, Les Imprudanses) and ensemble work (Babel et Les Minutes from the festival Montréal Complètement Cirque). She specializes in the creation of children’s dance theatre both in Quebec and Europe (Festivals Petits bonheurs in Montréal, Les Rencontres de Huy in Belgium, Méli-Môme and Petits et grands as well as with the companies Point Virgule and En cie d’Eux in France and DynamO Théâtre in Montreal). She begins her work as a director with the dual creations of Un orteil dans le vide, a piece on the theme of grief in collaboration with the street artist Marie-Claude Roulez and Remous remis, exploring a sibling relationship in collaboration with Xavier Malo. Nourished by diverse human and artistic experiences (Culture et handicap: an internship in France, Creation projects in the prison environment, cultural mediation in underprivileged settings), she directs and produces De doigts et de pied, a sensory experience for young audiences. With Le Mobile, a show for infants, she continues to develop her hybrid language of dance, circus and theatre, adding vocal work from her artists and an innovative relationship with the audience.
Simon Fournier thrives by the mix of three arts : theatre, danse and circus. Right after obtaining his diploma in theatre at UQAM in 2011, he joins the danse company of Dave St-Pierre to creates the last piece of his trilogie, Foudre, and then keep touring with the company with Un peu de tendresse bordel de merde and La pornographie des âmes. As an actor, he plays in Cassandre Emmanuel’s Les amoureux auront des cataractes, André Perrier’s Les mots secrets, File d’attente of Théâtre I.N.K. and act as a danse actor in Philippe Boutin’s Détruire nous allons and Le vin herbé. As an acrobat, he joins Antony Venisse’s Babel (Montréal Cirque Festival) and Jeff Hall’s Ruelle. Simon also danse with a number of choreographer namely : Heather Lynn MacDonald, Sophie Gee, Catherine Lafleur and Delphine Veronneau. The company La marche du crabe brings him to take the role of the brother in Remous Remis, Bonhomme in De doigts et de pied and the museum expert in Les explositions. In the new creation, Le mobile, he plays the Ukulele, sings, and narate many stories while doing aerial silks. With his partner Sandy Bessette, he creates many cultural mediation projects for youngs and olds. Simon loves science, in-situ theatre, both of wich are an important part of his work in progress: Amarelinha. When not writing or performing, Simon fathers his 3 years old daughter and explores life, one pebble at a time.
Annual Reports
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Policies and Regulations
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