Surveys the changes in acting and performance during the crucial transition from the ecstatic theatre of the 1960s to the ironic postmodernism of the 1980s.
Whether he’s creating a dance composed solely of everyday actions, working with an ensemble of children, or running a “dancing museum,” Charmatz’s work experiments with the body as a vessel for subjectivity, history, and collective action.
Stages a beyond-disciplinary, inter-subjective encounter between the lines of choreography, drawing and writing, for exploring those forms of thinking-feeling-knowing produced through collaborative exchange, in the slippage and deviation as different modes of practice enter into dialogue, overlap, collide.
The dancers develop movements in response to a photo – creating in real time.
Part of the Library of Performing Rights (LPR) (P3041).
From the Dance and Politics edition. In Slovenian and English.
Part of the Library of Performing Rights (LPR) (P3041).
Reading wesistive choreographies through works by Jawole Willa Jo Zollar and Chandralekha.
Part of the Library of Performing Rights (LPR) (P3041).
Lansley offers unique insight into the processes behind independent choreography and paints a vivid portrait of a rigorous practice that combines dance, performance art, visuals, and a close attention to space and site.
On Project O’s performances at the Forest Fringe Microfestival, Progress Festival, Theatre Centre, Toronto, Canada, February 2016
An artist book which samples his performance and art practices over 14 years, with text by Victoria Wynne-Jones, Mark Amery and Gradon Diprose.
The addresses the nonhuman bodies of Café Müller and claim that Bausch’s piece resonates with the work of contemporary philosopher Graham Harman, in that it tries to go beyond human exceptionalism to present a world where all bodies, regardless of their perceived nature, are simultaneously tightly enmeshed together and inaccessible to one another.