Conceived after the initial COVID-19 outbreak, the acclaimed Montréal-based duo envisioned Prism as an “imposing scenography of mirrors”. The stage is fit with six mirror panels moving atop a reflective floor, redirecting light, colour, and limbs in mesmerizing illusions. When placed in the shape of a “V”, the mirrors multiply the dancing bodies sevenfold, making the quintet of dancers appear larger than life. Prism plays with audience perception through illusion and misdirection, fooling the eye into seeing something that is truly tentacular.

What is it like to be returning to Vancouver for this new show?

Emmanuelle: This particular piece has only toured Quebec up to date, so we are absolutely thrilled to be taking Prism to Western Canada. Our giant mirrors play a big part in this production and they are quite a heavy travel companion, so we feel incredibly fortunate for all the support we’ve gotten to get this piece to the other side of the country.

After presenting Ghost to full houses in 2019, we are eager for The Cultch audiences to experience the Prism visual voyage. It is truly unique and a delight for the senses. We are also excited to come back to share and exchange with the Vancouver dance community through various workshops. Last time we were here, the workshops had a wonderful mix of contemporary dancers and street dancers. It was really special seeing the bridges form between dance techniques.

How did the COVID-19 outbreak and lasting pandemic affect the creation of Prism?

Emmanuelle: During the pandemic, the embryonic stage of Prism was spent in my backyard where my boyfriend and I worked on the first prototype of the mirror walls. He is a carpenter and he was very inspired to create a special apparatus for us to dance with. I was also in creation mode in my body, expecting a baby girl. I couldn’t really dance with the walls yet so I was on the outside, which is a rare occasion for myself. The overall inactivity during the pandemic gave me time to slow down and fully enjoy the research phase of Prism, gave us time to try out ideas, trash them, recycle them, without the pressure of a definitive deadline.

On the other hand, during the pandemic, Elon started concentrating on music production and composition. Few years later, this resulted in Prism being the first full-length piece he has ever composed music for. This really made the musical process easier, since Elon was composing and tweeking tracks live with us in rehearsal, as we were changing the choreography.

Can you tell us more about how the show blends distinct genres/styles of performance?

Emmanuelle: Our company, Tentacle Tribe, is formed of street dancers who all have a specialty in either breaking, popping, hip-hop, whacking, and more. We bring each person’s speciality and concepts from street dance together in a hybrid, partnering aesthetic. When working with multiple bodies, we try to create one organism. This is a kind of symbiosis that is compounded even more with the reflections of Prism.

How has Prism’s “scenography of mirrors” influenced its story?

Elon: You could say that the whole show goes through an awakening or awareness of the self. It is an internal journey that we need to do to find out who we truly are. Starting by looking outside for answers and ending with the very realisation that we need to look within.

Don’t miss this sure-to-sell-out performance by Tentacle Tribe, the uber-cool Montréal-based company whose singular style blends hip-hop, martial arts, and contemporary dance!