September 27, 2012 | Theatre,

Twisting Humanity: A Look at Les 7 doigts de la main

Did you ever think you’d emotionally identify with an acrobat on stage twisting into a physically impossible position or doing a series of flips in the air that would nauseate a normal human being? No? Yeah, me neither. But the Montreal-based circus troupe Les 7 doigts de la main (or the 7 fingers of the hand) took all of my preconceptions about acrobatics as an art form and completely transformed them once I encountered their heartfelt, passionate work.

Les 7 doigts was founded in 2002 by seven young directors who came together to create a collective “hand,” working towards a common goal. Their aim was clear from the start: to “bring circus to a human scale.” In an industry focused on spectacle, the founders were looking to create something with heart and purpose.  Together, these seven original artists have worked to direct, choreograph, write and coach the eight productions which have gained them international acclaim and set them apart as a unique voice for the circus arts. The company has become such a predominant voice in acrobatics and movement that they were asked to choreograph the much buzzed-about revival of Pippin, showing this spring at Boston’s own American Repertory Theater.

In ArtsEmerson’s inaugural 2010/2011 Season, Les 7 doigts brought PSY to the expansive Cutler Majestic stage. Initially, I was hesitant of a “circus” show; over time, I was convinced by word of mouth to go see it. I am ever so thankful that I did. PSY delivered a stripped down, inherently human dramatic work expressed through movement, sound and, yes, acrobatics.  Mixed in with the (literally) jaw-dropping stunts and contortions was a group of people trying to uncover the central question of the theatre: what does it mean to be human?

The following summer, Les 7 doigts had the unique opportunity to reprise PSY at ArtsEmerson to ring in the second season. Luckily, I had the unique opportunity of being one of the house ushers who got to watch the performance again and again, each time gaining new depth and understanding. I was sold. This was not a flimsy piece of entertainment with all spectacle and no heart—this was art. This notion was reconfirmed this past summer seeing the Off-Broadway production of Traces in New York City. That production, initially planned for a ten-week run at the Union Square Theatre, ran for over a year before closing this past month and launching a national tour.

Shows produced by Les 7 doigts have the extraordinary quality of building a bond with an audience which takes them on an inherently human journey through impossible means. More importantly, this connection follows you out of the theatre like a shadow: it’s there if you’ll just turn back and look at it.

The company returns to Boston this weekend in hopes of extending that wonderful human connection with their newest creation: Sequence 8, playing at the Cutler Majestic Theatre from September 27 – October 7.  Direct from rave reviews at the Philadelphia Fringe Festival, their latest show seeks to explore the depths of human emotion and the way we see the “other” in relation to (and apart from) ourselves. Routines with hoops, a seesaw, a trapeze and the unforgettable friction pole combine with powerful dance pieces to create the emotional and physical landscape in signature 7 Fingers-fashion.

Amid the rolls and turns and tumbles and twists of the enormously talented Sequence 8 performers, a connection will be built. Something will click. There will be a moment where the audience will look at the stage and think, “That’s me up there.” And, swinging from a trapeze a dozen feet off the ground or sliding head-first down the friction pole, the response will be unsaid, but clear: We’re really not all that different. We’re experiencing this together.