Un spectacle de danse solo


Durée: 45 minutes


Édith entre dans le monde des fantômes après avoir été emportée par l’océan. C’est ici que commence sa transition. Les fantômes tentent de la guider au fil d’une multitude d’émotions habituelles ou incomprises. À travers la répétition et la séduction, elle défie de nouvelles visions tout en essayant d'accepter les états inconnus dans lesquels elle s’apprête à entrer. 

Cadavre met en scène l’expérience d’une personne qui fait face à la fois au dépouillement matériel de la mort et à la possibilité de flotter au-dessus des frontières. Combien de parties de nous-mêmes amenons-nous de l’autre côté en prenant conscience de ce que l’on accumule au fil de cette vie?


Cadavre est la deuxième partie de la trilogie de Cutler Going Inside, qui a vu le jour avec la performance écrite Shelter In Shadows (2017/2018) créée pour trois interprètes. Cutler passe maintenant à l'expression de la danse pour explorer comment une personne communique lorsqu’elle est muette de plaisir et de douleur à la fois. Les « ballrooms » d’Harlem et la sculpture surréaliste inspirent la dynamique de ce spectacle de danse. Cadavre est accompagné d'une sélection de pièces musicales d’Aphex Twin.


Présenté les 27 et 28 septembre à 20h 

MAI : 3680, Rue Jeanne-Mance Montréal, Québec 


Les billets sont maintenant disponibles en nombre limités via Eventbrite. 

25 $ par billet






Ce spectacle est accessible aux personnes à mobilité réduite.

Des sièges dans la première rangée sont également disponibles pour les personnes vivant en situation de handicap visuel. 


Pour toute question supplémentaire, veuillez envoyer un courrier électronique à 







a solo dance performance 


duration : 45 minutes


Édith is crossing over into the world of ghosts after the ocean has taken her. This is where her transition begins. Phantoms attempt to guide her through a multitude of habitual and misunderstood emotions. She challenges new visions through repetition and seduction while struggling to accept the realm she is entering. 


Cadavre is a performance of how one confronts shedding the material after death while floating beyond boundaries. How many parts of ourselves do we bring to the other side with awareness of what we accumulate throughout this life time?


Cadavre is the second part of Jay Cutler's Going Inside trilogy, which began with the scripted performance art project titled Shelter In Shadows (2017/2018), created for three performers. Cutler now moves into the expression of dance to explore how one communicates when made speechless through pleasure and pain. Harlem ballrooms to surrealist sculpture art set the dynamic for this dance performance. Accompanied with selected music from Aphex Twin.


Presented September 27th & 28th at 8pm


MAI : 3680, Rue Jeanne-Mance Montreal, Quebec 

Limited tickets are now available through Eventbrite. 

$25 per ticket.  


This piece is accessible to persons with mobility impairment.

Front row seating is also available for people living with a visual disability.









FB-banner-image_1 AD.jpg

Crédit: Jonathan Guzzo Desforges

Crédit: Vincent Hubert

  • Facebook

Bettina Szabo 

Performance /

Interprète et collaboratrice

Jay Cutler

Création et


Mathieu Roy

Conception des éclairages

Mary Davidson

Coordonateur de la production

Francis Lussier


Jonathan Guzzo Desforges

Upside Photography

ShadowsRibbon shortened.jpg




A rescue mission. By rescuing ourselves we are able to be there for others, and I believe that our own post-traumatic stress disorders can be expelled from our lives through the art we create. Whether it stems from a trauma, exile, or disease, these creations help us recognize how to heal and be whole from knowledge we already carry within ourselves. The art I make needs room to move, to breathe and to coagulate inside the creator and within the viewing audience, allowing it to resonate for both long after the performance ends. 


A significant part of my life consisted of being a first responder, so I hope to combine these experiences with exorcising my own life choices through artistic presence. By telling a story, we inevitably stop hiding from what blocks us. Shelter In Shadows tells the story of the ghosts that can hold us back and the ghosts that may also let us go forward. I have always been intrigued by the kinds of ghosts that make us question conventional time; where we come from and where we are going. This theme resonates strongly throughout my work. 


Thinking of time as a construct helps me look at the body as a healing tool; often, our bodies can be more resilient and more compassionate than our minds. The body’s exploration of its own memories is the filter through which I bring scripted stage works to life. My understanding of how physical elements in a 

performance can challenge self-imposed limits leads to an even greater understanding of what a disorder may be at its very core. The result, hopefully, is to start recovering from it and to eventually understand one’s deepest truth. 



A ghostly love story between two men and the loving phantom attempting to guide them into self-acceptance and surrender. Desperate to escape from themselves and seeking one another, the two displaced characters take refuge in a forgotten church. Trapped within their own altered states of reality and unable to see clearly, they are confronted with unexpected mirrors and reflections as they face the lies they’ve hidden behind. Through dreams, memories and erotic invocations, their histories collide and the residue demands resolution. Diving through dimensions to search for answers that lie between realism and surrealism, they brush up against ghosts surrounding them in the abandoned church. As the long-buried secrets emerge, they give way to moments of both confrontation and deliverance. Gradually shedding the masks that they have created and now able to move into a new parallel existence, the characters’ potential to fall back into the cycle of lies upon which they have depended still looms, a shadow to their new found freedom.


Shelter in Shadows is a choreographed contemporary dance performance piece as told through an abstract and minimalistic theatrically-scripted storyline. Combined with a soundtrack of looped jazz-style drums both guiding and separate from the movement and the storytelling, the piece creates its own unique rhythm. Shelter In Shadows is presented on a dark, bare stage using lighting and shadow designs to represent the illusion of ghosts being presentin the space, and incorporates the possibility that ghosts can also be haunted. By using specific colours to symbolize the past struggles of the characters, the world expands even further: blue represents the mind and body of the ever-present sea in the piece; red signifies emotional danger; while white represents a new beginning for our characters.


• An alternate version of this piece is available as continuous performative installation. The performance takes place throughout eight hours over three consecutive days in order to create a time frame of 24 hours. Spectators can come and go as they please. They are also invited to attend the performance numerous times (during these three days) to witness the evolution of the work. Thus, the viewer becomes aware of different perceptions and sensations experienced through their visits. 



(2018)  (Work In Progress)

Performers: Jay Cutler, Anton May & Laurie-Anne Langis  

Writer and Director: Jay Cutler

Choreographer and Assistant Director: Marijoe Foucher  

Sound Designer: Peter Hostak

Lighting Designer: Audrey-Anne Bouchard

Production Coordinator: Mary Davidson


(2017)  (Work In Progress)

Performers: Jay Cutler & James Fraser.

Writer and Director: Jay Cutler  

Choreographer: Marijoe Foucher

Sound Designer: Rob Denton

Lighting Designer: Audrey-Anne Bouchard  Stage Manager: Mary Davidson

Assistant Stage Manager: Hana Kashaf

Je n’y crois pas, mais je les crains."

- Germaine de Stael (responding to whether she believes in ghosts)

" ... there will come a time when time goes out the window. " - John Frusciante


Shelter in Shadows is dedicated to The man who fell to Earth.





Artistic Director, Director, Writer, Performer

Originally from Montréal, Cutler was inspired as a teenager by New York City and its art world, especially stemming from the Lower East Side. He then trained in dramatic arts in New York City at The Lee Strasberg Theater Institute, The New School Actors Studio and at the Master Class Program for LAByrinth Theater Company. This was followed by acting coach Charles Goforth.

Apart from doing performance art, theatrical stage work and art films in Lower Manhattan, and drawing from his various influences, especially LAByrinth, Cutler began doing his own productions in Montréal, producing and acting in Jesus Hopped The ‘A’ Train by Stephen Adly Guirgis (Montreal English Critics Circle Award (MECCA) for Revelation, 2005) and producing and directingTopdog/Underdog by Suzan- Lori Parks.

This was followed by these selected stage acting credits in New York City: Hurly Burly, Angels In America, Little Blood Brother, Diary of A Madman, Victim, Birdbath, Speed-the-Plow, Crime and Punishment, On Any Monday Night, Andre’s Mother and Fucking A. Numerous performances in children's theatre, spoken word and independent films continued in NYC including directing movement oriented theatre.

A turn of events that Cutler now considers to be seminal to the current direction of his artistic trajectory was his decision to become a First Responder (Medical and Fire) motivated by his own near-death encounter and also during rescue work after Hurricane Katrina. His experience as a First Responder has shaped how he creates his art in terms of relating to himself and to the audience, basically exploring the physical endurance and performance aspects in his work. The post trauma that he witnessed during this time is currently the basis of Cutler’s creations. His interest in the combination of dance/movement and theatrical art forms reflects this new path.




Choreographer, Assistant Director

Marijoe graduated from UQAM as a contemporary dancer. Since then, she has taken part in many artistic projects, most notably with Emmanuel Jouthe, Anne–Flore de Rochambeau, Claudia Chan Tak and Philippe Dandonneau. These have given her the opportunity to perform in several festivals in Québec, Toronto and France. Moreover, to share her strong interest for interdisciplinarity, Marijoe is involved with the collective Dans son salon as a performer, a rehearsal director and takes part in dance short film productions.

Shelter In Shadows allowed her to explore a new creative context and to reflect about how to develop, based on the play's intrinsic dramaturgy, the relationship between movement and word to support and bring this work to new levels.



IMG_7056 (1).jpg



Jay Cutler, Artistic Director

Montréal, Québec, Canada


Photo by Monse Muro