with Patrick Saint-Denis _ audio art and robotics

Choreography and interpretation _ Sarah Bronsard

Audio art and robotics _ Patrick Saint-Denis

Interpreter and co-creator _ Olivier Arseneault

Lighting design _ Hugo Dalphond + Audrée Lewka

Singing _ Alexandra Templier

Artistic mediation _ Sophie Michaud

Artistic advisors _ Olivier Arseneault, Myriam Allard, Ginelle Chagnon and Sophie Michaud


60 minutes


Created in 2018, Èbe is the result of a collaboration with Patrick Saint-Denis (audio and robotics art). An extended version is created in 2021, enriched by a new team of collaborators.


The piece revolves around a choir of five accordion-robots and a choreography rooted in flamenco to explore the communicative dimension of breath. The unconscious adjustment of the breathing to that of the accordions, like the hypnotizing effect of the sea, reveals the power of what influences us beyond our individual questionings. It is therefore around the cyclical and vital phenomenon of the tides that Èbe was created. The poetic anchor points that nourished the work are the cyclical movement of the waves, like breathing, and what is revealed on the beach when the waters recede (the word "Èbe" means ebbing tide). Following the metaphor of what is revealed when the water recedes, we explore what lies beneath the surface of what is usually audible in accordion and flamenco playing, as well as what connects us in the space across distance. Èbe offers a contemplative and sensory experience shared through the different rhythms that inhabit and surround us.



May 23rd _ Glenn Gould Theatre, by l'Alliance Française de Toronto (Toronto, On)



December 7th _ Le Carré 150 - Salle Les-frères-Lemaire (Victoriaville, Qc)  _ tickets online

November 28th _ Salle Pauline-Julien (Sainte-Geneviève, Qc)



Opening of the Festival International d'Art Vidéo (FIAV)

        November 23rd _ Studio les arts vivants (Casablanca, Maroc)


Tour in the east of Québec :

April 21st _ Théâtre Gilles-Vigneault (Saint-Jérôme)

May 3rd _ CD Spectacles (Gaspé)

May 5th _ Théâtre du Bic (Bic)

May 7th _ Salle Jean-Marc Dion (Sept-Îles)




Participation in the official selection of Parcours Danse, on November 28th, in the Green Room of the Wilder Espace Danse (Montreal).


Tour in seven Maisons de la Culture from November 14th to 23rd organized by Accès Culture and the Conseil des Arts de Montréal :

November 14 _ Maison de la culture du Plateau-Mont-Royal

November 15 _ Maison de la culture Claude-Léveillée

November 17 _ Maison de la culture Marie-Uguay

November 19 _ Maison de la culture Rosemont-La Petite Patrie (salle Jean-Eudes)

November 21 _ Centre culture Notre-Dame-de-Grâce (salle Iro-Valiskakis-Tembek)

November 22 _ Maison culturelle et communautaire de Montréal-Nord

November 23 _ Maison de la culture Ahuntsic


Société des Arts Technologiques (SAT) as part of the Montréal / Nouvelles Musiques festival organized by the SMCQ, February 26th.



Premiere at Wilder Espace Danse (TangenteFebruary 8-11.


The project received the precious support of the Conseil des Arts et des Lettres du Québec through a research-creation grant, a production grant and a r grant from the Canada Council for the Arts, the support of La Danse sur les Routes du Québec for the participation in Parcours Danse 2019, the Mécènes Investis grant for the Arts through the Montreal Arts Council, and donor of the Kisskiss Bankbank crowdfunding campaign, the amount of which was increased by the Caisse de la Culture. The project also benefited from artistic residencies at Place des Arts (Montréal), Maison Culturelle et Communautaire de Montréal-Nord (Montreal), Théâtre du Bic (Rimouski), Corps Chorus (Laurentides) and at Studio 303 (Montreal), at the Dance Department of UQAM (Montreal) and at the Maison de la Culture Notre-Dame-de-Grâces (Montreal).


"(...) Èbe, entre humains et machines, est très belle. Étonnante par l’espace que les créateurs laissent respirer — c’est rare chez de jeunes artistes — ; par leur propre effacement, très efficace ; par une belle contemporanéisation du flamenco ; par les surprises que la trame du début déploie, si cohérentes dans l’univers qu’elles semblent une évidence une fois apparues."

"Technologies contemplatives"  - Faire fragment, par Catherine Lalonde, Le Devoir, 9 février 2018

Press Kit _ Èbe
Adobe Acrobat Document 7.6 MB

Tangente (2018)