about

Born in Kuujjuaq, Canada, Béatrice Larrivée is a performance artist and creator. She danced with the Batsheva Ensemble between 2018 and 2020 before becoming a Gaga teacher, a movement language developed by Ohad Naharin. Béatrice is now an independent artist and works with a variety of choreographers around the world. Over the past few years, she has created three original works and directed the movement for a theatrical work led by Nadia Migdal. In 2023, she was selected to create a work for six graduates of l’École de danse contemporaine de Montréal. She also took part in the choreographic competition 1|2|3 led by the Suzanne Dellal Centre for Dance in Tel Aviv, where she began developing a solo that was later selected for the International Dance Solo Festival in Stuttgart, Germany. Most recently, Béatrice created a work for FLYOUT Transition Company in Rome. Béatrice began her career in Montréal with the RUBBERBAND company. During this time, she also did freelance work with Compagnie Marie Chouinard. She studied ballet at l’École supérieure de ballet du Québec before moving to Vancouver, British Columbia, where she attended the renowned Arts Umbrella. 

Béatrice’s artistic choices are rooted in physiological research where she strives to surpass her limits in order to discover a new understanding of the essence of movement and, in turn, of the human being. Her projects draw their inspiration from the knowledge she has acquired during her career with the RUBBERBAND method shared by Victor Quijada, with Gaga, a movement language developed by internationally renowned choreographer Ohad Naharin, and from her education in classical ballet. By combining the tools of these different methods, which are both complementary and contradictory, she engages with the body as both a site of inquiry and a conduit for emotion. Movement becomes a dynamic lens through which she can access the intricate layers of her emotional self, weaving together the physical and the visceral. At times, the act of moving gives rise to unexpected sensations and emotions, a discovery sparked from within the body itself. At other times, her responses to external experiences or the world around her finds their way into her physical practice, reframing her perception of movement. This constant dialogue between body and feeling transforms dance into a vessel that can hold and express the complexities of her inner world. Each creation becoming the echo of an intimate feeling: the raw material of her creative process.