Homo confortus is an explosive dance fresco, a surreal fiction that invites the public to take a journey through history, to experience all its beauty, ugliness, recurrences and its ruptures. Structured around the concept of homo-comfort, it uses vast living tableaus to explore the cycles of human experience by appropriating compelling current themes, in all their ambiguities!
The work revolves around a group of apprentice revolutionaries, armed with poetry and biting humour, who question modern individualism and imagine a utopian society where solidarity and mutual aid prevail over the pursuit of convenience. A daring choreographic work that promises to defy expectations.
See the world premiere at La Rotonde on March 19 and 20, 2026.
All the details HERE
World Premiere: March 19, 2026
Description: Danse K par K presents its ninth creation, an explosive dance fresco that imagines a utopian world where solidarity and mutual aid prevail over the pursuit of convenience, in a unique post-apocalyptic environment.
Homo confortus in 3 questions
What was the starting point for this new creation?
The piece draws inspiration from the book Homo Confort: le prix à payer d’une vie sans efforts ni contraintes, which questions our obsession with comfort and its human consequences: overconsumption, chronic dissatisfaction, and a loss of connection to oneself, to others, and to nature.
From this reflection, I assembled a team of performers with diverse backgrounds to explore the tension between the desire to have everything and the persistent feeling of emptiness and disconnection that runs through our era. This inner storm forms the core of the work, carried by humour and metaphor. We aim to become that storm — that inner chaos seeking to fill the void in the greatest comfort.
For this project, you incorporate text in a very concrete way, performed on stage by an actress. How does that change your work as an artistic director and choreographer?
The text feeds the dramaturgy of the work, notably by offering a counterpoint to the situations presented. It enriches the stage language and enters into dialogue with the dance, without ever replacing it. Dance remains the central axis of the experience.
Danse K par K has accustomed us to striking stage devices and scenographies. What can we expect this time?
This time, the scenography takes a major role. The set serves to fill that void where references to survivalism and overconsumption coexist — and more. Objects, bodies, and movements accumulate to create an immersive sensory density, inviting the audience to let themselves be carried away and to build their own interpretation. The material will be dense, impossible to grasp in a single glance.
Credits
Artistic direction : Karine Ledoyen
Choreography : Karine Ledoyen, en collaboration avec les artistes
Performers : Arnaud de Balanda, Aroussen Gros-Louis, Emma Walsh, Julia-Maude Cloutier, Léa Ratycz-Légaré, Lou Amsellem, Lila-Mae Talbot, Meï Thongsoume, Noémie F. Savoie, Phile Després, Sonia Montminy, Tetiana Kriuchkova and Théo Martin Lopez
Artistic and dramaturgical advice : Sophie Michaud
Performer direction : Fabien Piché
Onstage performance and sound design : Jorie Pedneault
Text : Pascal Brullemans
LX design and technical direction : Mélany Bolduc
Set design : Laurie Carrier
Costumes : Marie McNicoll
Outside eye : Catherine Martin
Assistant director : Marie Nowak
Creation performers : André Abat-Roy, Ariane Voineau, Nelly Paquentin et Romane Picard
Creation substitute : Alice Villeneuve, Emma Walsh, Margaux Auclair et Sarah Pisica
Overall coordination : Joanie Harnois
Communication : Émilie Rioux
Graphic design : Isabelle Pelletier
Production assistant : Marie Nowak
Booking : Agence Roger Roger – Kevin Bergeron
Workshops : Salle Pauline-Julien, Culture 3R et le Musée national des beaux-arts du Québec (MNBAQ)
Running time : 55 minutes
Header photo : Stéphane Bourgeois / Workshop photos : David Cannon and MNBAQ
