Nous perçons les oreilles, a duo formed by the instrumentalist couple Jean Derome and Joane Hétu, presented a free-form improvisational collaboration with dancers Sarah Bild and Susanna Hood on March 14, 2026, at the intimate black-box venue La Chapelle Théâtre La Chapelle. A creation that paid tribute to the musicality of the body, in keeping with the theme that ran through this edition of Semaine du Neuf.
Upon entering La Chapelle, we are greeted by a large open space featuring, as its sole installation, three microphones and a table upon which is arranged a motley assortment of objects and instruments that Joane Hétu and Jean Derome will use to shape the musical world that will unfold before our eyes. For although the work is titled Aux confluents des âmes, there is no underlying theme or organized anchor point that formally guides its structure. The only element running through the creation of this work is the intention expressed in the program notes, written jointly by the protagonists:
The body, the voice, and the rhythm
invite one another to move toward each other,
to weave an invisible fabric
where dreams take shape,
where the story unfolds before our eyes.
It is a fascinating experience to witness the unfolding of this fleeting world of sound and visuals and, as a spectator and listener, to enjoy making connections and crafting one’s own narrative. That is what makes the experience unique. The various sounds generated by the two musicians—using aluminum plates, wood blocks, slide whistles, water bottles, ocarinas, thunder drums, bows, melodicas, fans, various mouth noises—personally evoked for us at times the rustling of fallen leaves and natural landscapes, and at other times themes such as death, madness, and birth. An idea is sparked by a texture or a movement, and the performers respond to one another, adapting to create moments where music and body become intertwined.
We should also commend the focus of dancers Sarah Bild and Susanna Hood of the Frying Pan duo, who brought a unique depth to the various moments of this performance—not only through their expressive movements, but also through their facial expressions, which added a touch of theatricality to the piece.
The second half of the evening featured the performance titled “Du vivant”, bringing together Jean-François Laporte and his “Table de Babel” (Totem Contemporain) and the group “Tours de Bras”, with Éric Normand (electric bass and objects), Philippe Lauzier (bass clarinet and objects), and Annie Saint-Jean (projections and image manipulation). They added a stylistic dimension to the evening.
While the complexity of the opening performance hinged on the immediacy of the present moment and the use of instruments, the performance of this co-production by Totem Contemporain and Tour de Bras relied on a broader sonic complexity generated by more sophisticated technical means.
There was something transcendental and almost meditative about seeing and hearing this soundscape, driven in part by Laporte’s imaginative instrument-making—notably the power generated by a truck horn powered by a compressor. Two approaches, two complementary ways of engaging with the material, yet the same sense of surrender and letting go in the music, for both the musicians and the audience.
