Hotbed is Lucy Guerin Inc’s workshop program for professional dancers and dance-makers. Workshops are led by local and international choreographers to encourage a broad understanding in the local dance community of current contemporary dance thinking and practice. These workshops are generally cost a minimal fee and participants are selected through an application process.
HOTBED 2016 – #3 – With Faye Driscoll
Presented by Melbourne Festival, Arts House and Lucy Guerin Inc
During the 2016 Melbourne Festival, international choreographer Faye Driscoll (USA) will be leading our third Hotbed workshop for 2016.
APPLICATIONS FOR HOTBED 2016 HAVE NOW CLOSED.
INFO FOR PARTICIPANTS
Driscoll leads a fun, messy, transformational performance practice where more not less is possible. In this workshop we will explore the rigor of play. We will activate sensorial aliveness, move through image based improvisations, make belief, and the exploration of ecstatic states as tools to relax our perceptual rigidity, and bring more of ourselves into the practice. We will use our voices and our stories, while we will get sweaty and move into our flesh. How do we experience ourselves in active relationship to our bodies, images and fantasies of ourselves, and the space and social experiences we inhabit? How do we “play” with the material of that experience? All bodies welcome.
Lucy Guerin Inc is committed to making our programs and events accessible – if you have any accessibility needs please contact us at email@example.com.
Faye Driscoll is a Bessie Award-winning choreographer and director whose work is rooted in an obsession with the problem of being “somebody” in a world of other “somebodies.” Originally from Venice Beach, California, Driscoll moved to New York in 1994 to train in dance at Tisch School of the Arts at NYU. She began her career dancing with groups such as Yasmeen Godder, David Neumann, and Doug Varone and Dancers. In 2005 she started making her own work, aiming to create immersive worlds of sensorial complexity and perceptual disorientation, one where awkward virtuosic bodies teeter on the edge of high art and slapstick. These investigations gave rise to a wide range of works including: LONELINESS (2006), exhibited in the Younger Than Jesus triennial at the New Museum; WOW MOM, WOW (2007), a postmodern/pop musical/death metal fantasy; 837 VENICE BOULEVARD (2008, Bessie Award), an autobiographical work within a theater within a home; THERE IS SO MUCH MAD IN ME (2010), an exploration of ecstatic states; YOU’RE ME (2012), a duet distorted by props, paint and manic costume shifts and THANK YOU FOR COMING: ATTENDANCE (2014), the first part in a series of works that propose performance as a shared political act, where performer and audience co-create reality. Currently, Driscoll is creating the second in the series. THANK YOU FOR COMING: PLAY focuses on the consumption and fabrication of stories to make our lives cohere, and the capacity of words to render and reduce our lived experiences. It will premiere at Wexner Center for the Arts in September 2016 and at BAM’s Next Wave Festival in November 2016. Her work has been presented across the country at places such as Walker Art Center, Wexner Center for the Arts, ICA/Boston, Danspace Project, and American Dance Festival, and internationally in Argentina, France, and Croatia.
DATES: Weds 12 – Fri 14 Oct 2016
TIMES: 12pm – 6pm
VENUE: Lucy Guerin Inc studio, 28 Batman Street, West Melbourne
PRICE: $90 for the three days
APPLICATION DEADLINE: 11pm Sunday 11th September
YOU WILL BE NOTIFIED VIA EMAIL OF THE OUTCOME BY MONDAY 26TH SEP 2016.
PAST HOTBED WORKSHOPS
During the first half of 2016 we hosted two separate Hotbed workshops to form part of the Keir Choreographic Award Public Program led by two visiting international artists Chrysa Parkinson and Sarah Michelson.
As Lucy Guerin notes:
“What a treat to have the fabulous Sarah Michelson as a workshop leader at the studio. She is a truly amazing artist and whenever I have seen her works I have been sent off on some inspired tangent in my mind. Sarah is rigorous to the max but has such an unusual sensibility that your expectations are constantly re-arranged. She is one of the most interesting and provocative choreographers around.
Chrysa Parkinson occupies a unique place in dance. Her work traverses dancing, thinking, writing, drawing, teaching, mentoring, creating and much more without settling into one definition. Her workshops are an absolute must for any thinking dancer or dance maker. She is a truly inspiring person. When I talk to Chrysa, I always feel that I am a better version of myself!!! And she is funny.
Take it from Deborah Hay;
‘Chrysa Parkinson is the smartest most inspiring transmitter of movement understanding, period.’ “
– Lucy Guerin
2016 Hotbed #1 with Chrysa Parkinson
Part of the 2016 Keir Choreographic Award Public Program
Presented by Dancehouse in partnership with Lucy Guerin Inc
Dates: Sat 2nd and Sun 3rd April 2016
Times: 11pm – 5pm
Venue: Lucy Guerin Inc studio, 28 Batman Street, West Melbourne
PRICE: $60 for the two days
ABOUT CHRYSA PARKINSON
Chrysa Parkinson is a dancer living in Brussels and Berkeley, California. She lived in New York for many years and performed with Tere O’Connor Dance, Irene Hultman, Mia Lawrence, Jennifer Monson and Mark Dendy, among others. She began traveling to Belgium in 2000 to work on improvisational performance with Zoo/Thomas Hauert and David Zambrano. Since then she has also performed with: Adrian Heathfield, Veli Lehtovaara, Remy Heritier, Boris Charmatz, Andros ZinsBrowne, Rosas/Anne Teresa De Keersmaeker, Jonathan Burrows, Mette Ingvartsen, Phillip Gehmacher , Eszter Salomon , John Jasperse, Deborah Hay, Alix Euynadi , Meg Stuart and Joaquim Koester. She has taught in the US, Europe and Australia, and yearly at PARTS (be) since 1998. Chrysa’s writing and films have been published and distributed internationally. Her most recent project, The Dancer as Agent Collection, is available at Oralsite.be. She is the Director of the New Performative Practices MFA program at DOCH/Uniarts in Stockholm.
INFO FOR PARTICIPANTS
This workshop aims at adding to the ongoing process of skilful perception by engaging with submerged fictions, performance modes and movement through physical performance practices. The mornings will focus on movement scores and the afternoons will involve memory, discussion, writing and reading in relation to the mornings’ work. We will work to find ways for each individual to document their own experiential authorship in a way that allows for the potential of looking forward to looking back. The performer’s experience can be considered as an ongoing series of events: looping back, rebuilding, erasing, uncovering, disenchanting, replacing, and stumbling into unknown territory. A performer represents or produces temporary roles and identities as part of a contained continuity – their own experiential authorship. This type of authorship is not necessarily progressive, doesn’t necessarily improve or devolve. It has plasticity. It’s a continuity that accepts and resists form, folds and swells, is flexible and forceful. The question of how to document the complexity of the performer’s experience is central to the workshop. Language will be engaged for its ability to distinguish one thing from another. Physical experience will be useful for its ability to humble and destabilize these distinctions. Performance experience will be useful.
The 2016 Keir Choreographic Award is presented by Dancehouse, Carriageworks and the Keir Foundation and has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
2016 Hotbed #2 with Sarah Michelson
Part of the 2016 Keir Choreographic Award Public Program | Presented by Dancehouse in partnership with Lucy Guerin Inc
ABOUT SARAH MICHELSON
Choreographer Sarah Michelson’s work has been presented by The Whitney Museum of American Art, MoMA, BAM, PS 122, The Kitchen, The Walker Art Center, Chapter Arts (Cardiff, UK), On the Boards, Venice Biennale, SommerSzene Salzburg, Tanz im August (Berlin) and Zurich Theater Spektakel Festival. She has received three Bessies, 2012 Bucksbaum Award, 2012 Doris Duke Artist Award, 2009 Guggenheim Fellowship, 2008 Foundation for Contemporary Arts Award, 2006 Alpert Award in Dance and Der Foerder prize. Sarah Michelson has created several evening-length works and modular works including her most recent works tournamento (2015) for the Walker Arts Center, 4 for The Whitney Museum of American Art (2014); Devotion Study #3 (work in progress), MoMA for the Some sweet day series curated by Ralph Lemon (2012); Devotion Study #1, The American Dancer, The Whitney Museum of American Art (2012) and Devotion, which premiered at The Kitchen, New York (2011).
INFO FOR PARTICIPANTS
This workshop will be a chance for us to spend some time together try to understand what our intentions are in this moment in relation to dance making and choreographic practice.
Email: firstname.lastname@example.org if you have any questions.
2015 Hotbed #2 with Kate McIntosh
Dates: Tuesday 4 – Friday 7 August 2015
Times: 12pm – 6pm
Venue: Lucy Guerin Inc studio, 28 Batman Street, West Melbourne
PRICE: $100 for the full week
ABOUT KATE MCINTOSH (FROM NZ, WORKING IN BELGIUM)
Kate McIntosh is a New Zealand artist based in Belgium whose work straddles the boundaries of performance, theatre and installation. she has performed internationally since 1995 – appearing in the work of directors such as Tim Etchells (UK), Wendy Houstoun (UK), Meryl Tankard Australian Dance Theatre, Cie Michèle Anne de Mey (Belgium), Random Scream (Belgium), and Simone Aughterlony (NZ/Switzerland).With off- beat humour and moments of lucid thought, Kate’s work balances on the thin line between experiment and entertainment.
See more info on her website
INFO FOR PARTICIPANTS
Misuse / Displace: strategies for installation and performance
Over several days, working in the studio and the surrounding area, participants concentrate on the interaction of objects, materials and locations as strategies to build metaphoric imagery and action. Kate presents development tools and games that she used during the making of two of her works – the performance Dark Matter and the video installation De-Placed (a collaboration with Eva Meyer-Keller). Both of these pieces rely on the interaction of objects and materials to push forward the ideas in the work – in a sense making the materials become performers. Kate presents these strategies as working tools, which the participants can then explore and extend practically for themselves, both individually and in collaboration with other participants.
The work comes directly from Kate’s fascination with scenography, with the physical traces left by actions, and with the ambiguity of metaphors generated by playing with materials. In her work this is often explored through the tension of misusing or displacing objects in unexpected and disconcerting relations.
The workshop also circles around ideas to do with the performativity of demonstrations and material processes, around language and non-language metaphors, and around installations built in found locations. Kate’s own background is in performance, but the workshop is also useful for scenographers and visual artists who are interested in developing their play with materials, towards a possible performance element.
Image by: Eva Meyer Keller
Dates: Monday 4 – Friday 9 May 2015
Times: Mon, Wed, Fri 11.30 – 4.30pm / Tues & Thurs 10am – 3.00pm
Venue: Lucy Guerin Inc studio, 28 Batman Street, West Melbourne
PRICE: $75 for the full week
LECTURE PERFORMANCE Martin Nachbar (GERMANY) – ALL WELCOME TO ATTEND
Dates: Friday 8 and Saturday 9 May 2015
Venue: Lucy Guerin Inc studio, 28 Batman Street, West Melbourne
PRICE: Gold coin donation
RSVP to email@example.com by Thursday 7 May 2015
ABOUT MARTIN NACHBAR
As one of the first contemporary choreographers in Germany to examine heritage, memory and reconstruction in dance conceptually, Martin’s practice connects with Lucy Guerin Inc’s interest in dance history and record. Since the funding program “Tanzfonds Erbe” there have been interesting developments in Germany concerning this topic and practice. Following on from interest in Jochen Roller’s project in Australia, Lucy Guerin Inc is delighted to invite Martin to engage local practitioners in negotiating approaches to re-enactment, reconstruction and historical dance pieces or art works.
INFO FOR PARTICIPANTS
In this workshop participants will look at the process of reconstructing dances.
- How do we pass from the mimesis of a movement form that might seem foreign to us, to appropriation and to embodiment of a dance?
- What are the implications of this process in relation to perception, production, re-production and authorship?
- What needs to be done, what can be learned, and what are the ethical implications?
Based on the film of Dore Hoyer’s dance cycle “Affectos Humanos” (1962), participants will reconstruct and work on short movement sequences. At the same time they will read short texts on the dance archive and on reconstruction in dance. Looking at each other’s reconstructions, they give feedback and contextualize them in short performances. (The relevant texts will be distributed to participants before the workshop.)
The workshop week will accumulate with two public showings on Friday and Saturday by Martin in the LGI studio directly related to workshop material.
This edition of Hotbed is generously supported by the Goethe-Institut Australia.
2013 Hotbed workshop #7 – Eleanor Bauer (USA)
Dates: November 25 – 29
Time: Monday to Friday – 10am to 4pm
Eleanor Bauer is an American choreographer and dancer based in Brussels, Belgium. Read her full biography here.
To be a professional dancer in the Contemporary Dance Field today means nothing, anything and everything. There are no universal prerequisites or values and an infinite number of techniques, practices, and kinds of training available which may be relevant and useful (or not) in one’s dancing career. In order to navigate this vast and volatile field both artistically and physically, one must develop a very clear and discerning relationship to both desire and discipline. In order to remain open to the possibilities and offerings, ready for them when they appear, and yet grounded in one’s own interests and skills, it is necessary to have a practice. I define practice as a repeated program, routine, approach, and/or relationship to one’s own body, mind, and creativity that can be visited daily, anywhere and anywhen. To foster both stability and availability within diversity and change – we will work on Defining Practice for ourselves, together and individually. Dancing through different kinds of knowledge, perspectives, concerns, and questions, this workshop should help each participant clarify his or her own direction in dance, by defining his or her own practice.
2012 Hotbed workshop #6 – DD Dorvillier (USA)
Dates: March 5 – 16
Time: Monday – Friday, 10:30am – 5pm
Touch Move Talk Write: open studio practices + a re-enactment
The workshop will be a triptych, one part structure, two parts content.
1. Exploring what is meant by “practice”, by generating practices from what we already know about touching, moving, talking, or writing. We will make and practice these practices by inventing rules, applying different durations and contexts, and doing them in different sequences. Touch, movement, talking, and writing will all get equal time. We will push the notion of practice to extremes in order to discover something about self and unspoken rules. The aim is to proliferate unexpected results, to try many things quickly, and to foment revolution. We can use 2 and 3 as content.
2. Part of practicing will be a daily and evolving re-construction of the bank robbery scene from the film “Prenom Carmen” by Jean-Luc Godard.
3. Learning the generic phrases from Danza Permanente, bits and pieces of a Beethoven String Quartet, made visible in silence.
DD Dorvillier has been developing her artistic work in New York City since 1989, as well as performing in the works of others, teaching, curating, and mentoring. She is also an active force in the international dance scene. In 2003 she was awarded a Bessie for Choreography of Dressed for Floating, and in 2010 for her performance in Parades & Changes, replays, a re-activation by French choreographer Anne Collod, of Anna Halprin’s seminal work. In 1991 she and dancer/choreographer Jennifer Monson created the Matzoh Factory.
For over a decade the studio was an accessible grassroots site for wild experimentation where many choreographers and artists congregated for low-tech and low-cost shows, rehearsals, parties, and readings. She has worked with and been deeply influenced by: Jennifer Monson, Zeena Parkins, Jennifer Lacey, Yvonne Meier, Sarah Michelson, and Karen Finley, among others. She has been a Movement Research Artist in Residence twice, was curator of the Movement Research Festival twice, and co-editor of the double issue of the the MR Performance Journal “Release”. She received a New York Foundation for the Arts Choreography Fellowship (2000), a Foundation for Contemporary Arts Fellowship (2007), and a Guggenheim Fellowship (2011).
Her work with her company, human future dance corps, has been presented in New York at The Kitchen, Dance Theater Workshop, Danspace Project, and PS 122, among others. Internationally she has presented her work at ImPulsTanz, Vienna; DeSingel, Antwerp, STUK, Leuven; Hau/Hebel am Ufer, Berlin; Frascati, Amsterdam; Zagreb Dance Weeks, Zagreb; Springdance Dialogues/TSEH Festival, Moscow; and many others. Her current project Danza Permanente, produced by human future dance corps, is co-produced internationally, and in New York by The Kitchen.
2011 Hotbed workshop #5 – Martin Spångberg (Sweden)
Dates: September 12 – 14
Time: Monday to Wednesday – 10am to 2pm
Post-effective Bodies, Practice-based Choreography
Circumstances for choreographic creation has changed radically over the last decade, concerning discourses of the body, the notion of choreography as expanded practice as well as performance productive agency. Our current political predicament further poses new questions to the body, it’s movement and choreographic production. During three days Mårten Spångberg will introduce a series of emerging concepts in contemporary choreographic practices, mixing discourse with practice, conversation with dancing.
The workshop is tailored to suit practitioners and makers from all fields of art and performance.
Mårten Spångberg is a performance related artist living and working in Stockholm. His interests concern choreography in an expanded field, something that he has approached through experimental practices and creative process in a multiplicity of formats and expressions. He has been active on stage as performer and creator since 1994, and since 1999 has created his own choreographies from solos to larger scale works, which he has toured internationally.
Under the Label International Festival Spångberg collaborated with the architect Tor Lindstrand, engaging in social and expanded choreography. From 1996 – 2005 he organized and curated festivals in Sweden and internationally. In 2006 Spångberg initiated the network organization INPEX. He has thorough experience teaching both theory and practice and since 2008 has been the director for the MA program in choreography at the University of Dance in Stockholm.
2010 Hotbed workshop #4 – Tere O’Connor (USA) with Lucy Guerin (Australia)
Dates: July 26 – August 6
Time: 10am – 5pm
Following a highly successful workshop in 2008, Lucy Guerin Inc is inviting Tere O’Connor to be involved in another Hot Bed workshop in 2010. This time, he will collaborate with Lucy Guerin in creating a work in progress on ten to twelve local dancers interested in choreography. Dancers will be selected for this workshop through an application process and it will be free of charge. This workshop will give participants an insight into the methods employed by these two experienced choreographers in creating a work. Guerin and O’Connor have a shared history of ideas which over the last twenty years has stimulated an important dialogue in the creative lives of both artists. The making of this work will be a transparent process where ideas and questions about dance will be continually raised and discussed. The workshop will culminate in a showing for an invited audience. The project may form the basis of a further collaboration between Guerin and O’Connor.
Tere has been making dances since 1982 and has created over 30 works for his company. The company has performed throughout the US and in Europe, South America and Canada. O’Connor has created numerous commissioned works for dance companies around the world, among these have been works for the Lyon Opera Ballet, White Oak Dance Project, de Rotterdamse Dansgroep, Holland; Carte Blanche, Norway; TRAFO/The Workshop Foundation, Hungary; for Canadian dancers Bill Coleman and Laurence Lemieux in Montreal; Dance Alloy in Pittsburgh, PA; and Zenon in Minneapolis, MN. In addition to Greta in a Ditch for White Oak, he recently created a solo work for Mikhail Baryshnikov entitled Indoor man. Tere O’Connor is a 1993 John Simon Guggenheim Fellow. He is also a recipient of a Foundation for Contemporary Performance Art Award and a DNA Project Award from Arts International.
He has received three New York Dance and Performance “Bessie” Awards – One for Heaven Up North in 1988, another in 1999 for Sustained Achievement, and most recently for his work Frozen Mommy (2005). He is also a recipient of repeated grants from the National Endowment for the Arts, New York State Council on the Arts, Rockefeller Foundation/MAP Fund, NEFA/National Dance Project, The New York Foundation for the Arts, Jerome Foundation, Altria Group, Inc., the Bossak/Heilbron Charitable Foundation, The Harkness Foundation for Dance, and Arts International: The Fund for US Artists at International Festivals.
2010 Hotbed Workshop # 3 – Mette Ingvartsen (Denmark)
Dates: 29 March – 1 April
Time: 10am – 3pm
What are the limits of what we call a practice and how do we work on developing it?
In this work-shop we will explore how practices within the performing arts can be defined today. Are we practicing when we are reading, writing, thinking, imagining or rather when we are moving, testing and trying?
Between physical, verbal, mental and immaterial practices we will be dancing, discussing, talking and moving. Sharing ideas on how to make performances and how to develop methodologies that correspond to specific areas of interest.
Mette Ingvartsen is a Danish choreographer and dancer. From 1999 she studied in Amsterdam and
Brussels where she in summer 2004 graduated from the performing arts school P.A.R.T.S. Since summer 2002 she has instigated several research projects and made numerous performances, among others “Manual Focus”(2003), “50/50”(2004), “to come”(2005) and “Why We Love Action”(2006).
Her more recent work evolves around questions of perception and sensation including “It’s in The Air” (2008) a collaboration with Jefta Van dinther and with her latest two pieces “GIANT CITY” and “Evaporated Landscapes” (2009).
Besides her performance work she is engaged in research and her practice involves writing, making, performing and documenting work. She teaches and gives work-shops often related to developing methodologies within choreographic practices. Since 2005 she has been working on “everybodys”, an open ongoing collaborative project based on open source strategies, aiming at producing tools and games that can be used by artists to develop work.
In 2008 she participated in 6Months1Location initiated by Xavier Le Roy and Bojana Cvejic, confronting questions around education, structures of production and artistic exchange. During the 6 months she worked on the YouTube project “Where is my Privacy”, infiltrating and utilizing contemporary communication tools as a way to rethink choreographic production. As an extendsion of 6M1L she took part in organizing the festival Inpresentable09 in Madrid, usually curated by Juan Dominguez and she edited a book documenting the project’s activities.
She is part of the collective COCO’s who presented “Breeding, Brains and Beauty” in 2008 and has collaborated with Jan Ritsema and Bojana Cvejic on several theater performances.
In 2010 she is working on several smaller site-specific events, dealing with notions of artificial nature.
The project is supported by the Danish Arts Council Committee for Performing Arts.
2009 Hotbed #2 – Ros Warby, Lucy Guerin, Rebecca Hilton
Dates: February/March 2009
Ros Warby, Rebecca Hilton and Lucy Guerin will each give workshops of one week to share their process and current creative approaches to movement, with dancers in the local community. These dance artists have worked together as well as with other Australian and international choreographers and have built unique reputations on their choreographic and dancing expertise, and their possession of a rich store of information about physical movement and structures.
Warby, Hilton and Guerin have all danced with Russell Dumas, Danceworks and Lucy Guerin Inc. They have also had different experiences with a range of choreographers and have arrived at individual places in their careers. It is hoped that many participants in these workshops can attend all three and therefore gain and understanding of how these artist have developed different yet connected practices from similar backgrounds.
Dates: 2 – 6 February 2009
Time: 12.30pm to 4:30pm
Warby’s teaching focuses on the development of the dancer’s performance practice. She encourages the students to eliminate attachment to prescribed techniques or choreographic approaches and invites the body to undo any pre-conceived notions of what dance is, thereby creating a chance for the dancer to express a complex and indefinable range of experience through the humour, intelligence and emotional engagement of the dancing body. Creating a solo adaptation from one of her choreographies she would use this form to introduce the dancers to these ideas.
Dates: 2 – 6 March 2009
Time: 1pm to 5pm
Hilton’s present interest is in making art that reflects contemporary community/society/humanity. She is looking to develop a movement vocabulary that directly reflects that idea rather than abstracting it, but without being mimetic or imitative. In the context of this workshop, participants will research physical habit and nuance in a variety of ways. They will secretly stalk people in public spaces, gather images from visual art and media and microscopically examine their friends and family in private to assemble material that is both phenomenally complex and infinitely possible. They will work on layering and juxtaposing streams of postural/gestural information and on developing a vocabulary that is both accessible and virtuosic, familiar and strange.
Dates: 23 – 27 March 2009
Time: 1pm to 5pm
In her workshops, Guerin continues with current concepts that she is exploring in her dance making, inviting the participants to take part in her creative process. This workshop will focus on the connection between language and dance which Guerin has begun to examine in recent works. It will generate a vocabulary that utilises, but is not aesthetically defined by each person’s technical training and will delve into the body’s infinite capacity for spontaneous originality.
Dates: Friday 27 March 2009
Time: 6pm – 7.30pm
These workshops will culminate in a discussion between Hilton, Guerin and Warby led by a moderator. This discussion will explore both the individual concerns and pathways of each artist and their perspectives on current dance practice. It is intended that it will be attended by all workshop participants but will also be open to other members of the dance community.
2008 Hotbed #1 – Tere O’Connor
Tere O’Connor has spent years developing methods to facilitate choreographic explorations for artists. Born as a consequence of his own auto-didactic journey into choreography, this workshop has subsequently become integral to his work. It is a dialogue with the process of art-making. He attempts to create an awareness of prejudices and affinities and look at the interrelatedness of these in each artist’s work. He promotes development of the objectivity required to locate clear intentions detached from the accidents of representation. Rejecting a “good/bad” paradigm, his desire is for artists to create problem-solving systems based on the structure of their own thought and to rigorously pursue the “science” of their poetics. Through the daily creation of little dance works and group discussions, the artist focuses his/her attention on how the action they are engaged in contains meaning, how to grow this in choreographic terms and to how to edit from internal and external sources.
The workshop welcomes choreographers, performers, designers etc, doing the same work from different points of view, but looking for ways to corral into usage the questions that arise through process.
Talk with Tere O’Connor
Lucy Guerin Inc would like to invite you to come to a talk with US choreographer Tere O’Connor. Tere will be discussing his recent works and sharing his extensive knowledge and original approach to dance and dance-making.
Tere is one of the most influential choreographers of his generation in New York City. He is the director of Tere O’Connor Dance and has toured his works extensively throughout world. He has been commissioned by numerous dance companies including Lyon Opera Ballet, White Oak Dance Project, de Rotterdamse Dansgroep, Holland; Carte Blanche, Norway; TRAFO/The Workshop Foundation, Hungary; for Canadian dancers Bill Coleman and Laurence Lemieux in Montreal; Dance Alloy in Pittsburgh, PA; and Zenon in Minneapolis, MN. In addition to Greta in a Ditch for White Oak, he recently created a solo work for Mikhail Baryshnikov entitled Indoor Man.
Tere is a 1993 John Simon Guggenheim Fellow, a recipient of a Foundation for Contemporary Performance Art Award, a National Dance Project Award and a DNA Project Award from Arts International. He has also won two ‘Bessie’ awards. http://www.tereoconnordance.org
When: 6:30pm, Friday 22nd August 2008
Where: Meat Market – Arts House, 5 Blackwood Street North Melbourne