A Preugia nasce la prima Residenza Artistica dedicata interamente alla danza
A Preugia nasce la prima Residenza Artistica dedicata interamente alla danza
Un luogo aperto di studio, di ricerca, creazione e confronto riservato all’accoglienza degli artisti e alla diffusione dell’arte coreutica. A Perugia nasce “Home – Centro Creazione Coreografica“, la prima residenza artistica in Umbria dedicata alla danza.
Ideato da Valentina Romito, dell’Associazione Culturale Dance Gallery di Perugia, il progetto è il vincitore dell’avviso pubblico per un…
Time is moving quickly! This play will be premiere in October! Here are some video glimpses into our most recent workshops, along with a few mini updates about the work’s evolution. Enjoy!
1. The title of this play probably won’t be MAKE. Surprise! We’re simmering with a few possibilities right now, and I’m increasingly drawn to one of them... looking forward to sharing with you soon.
2. These videos came from two workshops we did in May 2016, generously made possible by The Playwrights’ Center. We read the latest version of the script, then spent most of two days on our feet, experimenting with sound and movement using a series of prompts from the script. You can see a few more snippets here.
3. The performers in these videos are Miriam Must, Billy Mullaney, Dolo McComb, Kristin Van Loon, Charles Campbell, and Vie Boheme, with sound by Crystal Myslajek and direction from Steve Busa. This extraordinary group is teaching me so much... it is pure honor to work with them. We’ll have one more workshop all together on June 29.
4. People in the play don’t have names anymore. Lately I’ve been thinking about Einstein on the Beach, that kind of meditative portrait of a famous (male) scientist; and how, in our process, what’s emerging is a (different) kind of meditative portrait of an unknown (female) scientist. The contrast is intriguing to consider.
On a somewhat related but largely unrelated side note, Miriam recently gave me a copy of Lab Girl by Hope Jahren, which quickly took precedent over a large stack of library books despite impending due dates. Highly recommended!
5. Sitting with this piece amidst everything happening in the world over the past six months has felt connected to the need to remember that climate change is urgent, despite the fact people are killing other people with guns every single day. How to be with it all, hold it all at once? How to be present for rapid response while also maintaining the long view and keeping up with that work? I’m acutely aware this play will premiere right before the November elections. Most recently, in grieving Orlando (and there is little I can put into words about that particular event just yet), I have moments of wondering if I should start all over with a whole new play, write a different piece that deals directly and explicitly with all the deeply tangled problems that immediate tragedy brings to light... whatever that might look like.
But then I look back at what has been happening on the page and in the room, and I remember that we’re committed to a creative inquiry and collaborative practice that do, on a cellular level, take on those deeply tangled problems. Wisdom I’ve heard from both Paula Vogel and Erik Ehn in the past three weeks also comes to mind - I’m paraphrasing, but basically it’s the idea that in order to see the sun, we can’t look directly at it. Our eyes will be damaged; it’s too much. Instead we have to look just to the side (and use other senses: feel the heat, smell the plants that are alive because of it) - and before long, we gain a deeper knowledge and experience of the sun after all. And so the same when it comes to looking at something as huge as climate change or as complex as our current sociopolitical reality. I know my own attempts to look straight at these realities tend to result in writing that is simplistic and unsatisfying, if not downright unhelpful; but if I can look just to the side and be open to what different senses and seemingly unrelated experiences will teach - suffice to say, much becomes possible. And so I keep coming back around to our scientist, trusting her lead, open to where she might take us.
Relational March: Minneapolis, Milwaukee, Chicago, Three Rivers, Detroit, Ohio State
Relational March: Minneapolis, Milwaukee, Chicago, Three Rivers, Detroit, Ohio State
Relational March Day 17-20
In Minneapolis, Emily Gastineau and Billy Mullaney (who work together as Fire Drill) have braved the cold long enough to curate an incredible show at The White Page of primarily “post-dance” works, including a piece by Samantha Johns(involving chocolate milk, dominoes and a question-an-answer session with Justin Spooner and Daniel Luka Rovinsky (the former a very…
