Dulcinea & Co.


Dulcinea ballerine child

Dulcinea started dancing when she was 4 with "Miss Ronnie", who taught her Martha Graham Technique. At 13, she studied with Paul Sanasardo, who didn’t like her habit of looking through the window at people walking down 6th ave during her barre exercises. He issued her un ultimatum: "You must chose between looking outside and the studio. If you want to dance in my company, you must stay focussed inside the studio for the next ten years!” Unwilling to give up observing humanity's dance, she chose the window and stopped dancing for several years.
At 17, she traveled to Europe for the first time, and discovered a small pantomime theater in Tivoli Garden, in Copenhagen. The stage was empty. She imagined mime – which she knew nothing about – as an artform that combined dance and theatre, and decides that it was what she wanted to do.

Dulcinea mime

Dulcinea's parents

Her parents insisted on her going to University. She chose Friend World College, a Quaker* "University without walls", where she was able to create her own curriculum, on the condition that her studies have the aim of improving the world. She adopts this philosophy, at first in order to please her parents... but she firmly believes in it to this day.
(*) The Religious Society of Friends (Quakers) started in England 350 years ago. The Friends believe a part of God exists in each human being, and they advocate loving each other, respecting human rights, worldwide justice, economic equality and peace.
She spent a year in London, at the Ovalhouse, a theater and youth club, where she worked alongside marginalised young artists... a few of whom would become stars, like John Ratzenberger (Cheers) and Pierce Brosnan (Bond). She takes mime classes given by Iris Walton, a student of Étienne Decroux, who encourages her to go work with the mime master (who is already 84).

Pierce Brosnan

Etienne Decroux Jacques Tati

In 1975, she goes to Paris to study with Étienne Decroux. She does classical ballet 6 classes a week. She mimes and sings on the street to pay her studies and she creates flip books (with small notebooks stolen from Monoprix). When she needed an evaluation from an expert on her domaine to obtain her university degree, she does a (catastrophic) audition for Jacques Tati, who tells her to please come see him again when she has something good to show. She succeeds in getting her degree anyway. 
When Decroux's assistants, Jean Asselin and Denise Boulanger, return to Montreal to establish their company, they invite Dulcinea to join la Troupe Omnibus. She moves to Montreal in 1978.
In Paul Buissonneau's warehouse, where Omnibus rehearses, Dulcinea discovers a hoop, whose diameter is exactly her hight. She starts working with this object that would become her talisman. She leaves Omnibus in 1982, and Paul gives her the hoop which will follow her everywhere until 1993.
She founds her own company in Montreal in 1985: Virtuous Circle Dancetheatre, that, in 1997, will become Dulcinea Langfelder & Co. ... And you know the rest.

Cercle VicieuxSmall

Created in 1985, Dulcinea Langfelder & Co. is a non-profit organization that creates and performs multidisciplinary shows. The company is committed to enlighten life through shows that vivaciously break cultural and social barriers. In order to touch its audience with the content of the work, the form is as varied and unpredictable as the human spirit. In this way, acting, singing, puppetry and interaction with projected imagery joins the art of movement, in surprising ways. 
Original and contemporary, disconcerting virtuoso of satire and irony, Dulcinea propels her audience to a playful universe, encouraging them to live better with its vulnerability and make up with the absurd part of life. The company has produced 7 shows, toured over 5 continents in English, French, Spanish, Italian and partially in Mandarin, Cantonese, Japanese, Korean and Portuguese. 
"Everyone asks me to define what I do in terms of a discipline, everyone except my audience. During a performance, it becomes obvious. The human imagination does not categorize - the proof is in the dreaming! We don’t have “speaking” dreams, “musical” dreams or “movement” dreams. We don’t have “traditional” dreams or “experimental” dreams. When we dream we mix everything up. What I do on stage simply reflects the normal functioning of the imagination. Imagery is not just pictures. Imagery speaks to us on a level which goes deeper than language and culture, and concerns all of our senses, since imagery is suggestive, and provokes our sense memory."
Certificate of recognition, Conseil des aînes du Quebec, 2010
Certificate of recognition, 2010 to Dulcinea Langfelder, “committed citizen involved in her milieu and having significantly contributed to the betterment of the elder community's well-being, quality of life, participation and role in Quebec society”, with the work that she has done for 10 years with Victoria.". 
Bank of Scotland’s Herald Angel Award, Edingurgh, 2007
Critic’s Award for best performer in physical theatre, during Fringe festival, Edinburgh (more than 2000 different shows were presented at the festival each year). 
Scotland on Sunday’s Luvvie Award, Edinburgh, 2007 (Victoria)
To Dulcinea Langfelder as best performer in physical theatre category at the Edinburgh’s Festival. 
Arti Shock Award, Rijnmond, Netherlands, 2006 (Victoria)
Public‘s prize for the "most impressive performance of the season 2006-2007". 
Coup de coeur du public Award, l’Assomption, Quebec, 2005 (Victoria)
Theater festival in Assomption, Quebec, 2005.
Montreal English Critics Circle Award (MECCA), Montreal, 2000
To Ana Cappelluto for best stage design in Victoria (montreal anglophone Critics Circle award). 
""Personality of the Year in dance", given by the daily newspaper La Presse.
Silver Cup, New York, 1955
To Dulcinea Langfelder, the 5,000th baby born at Staten Island Hospital