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Almanac 2016: Ana Norrie Toch (Edinburgh, Scotland)

Almanac 2016: Ana Norrie Toch (Edinburgh, Scotland)

May I please leave the table
‘May I please leave the table’ comes from an individual response to the work and writings of artist Louise Bourgeois. Themes especially within the psychoanalytical writings deeply resonated with the choreographer’s own experiences. The work of Bourgeois became a groundwork for the translation of the Ana’s thoughts into the subtle language of physical performance. This artistic relationship began in 2014 with the first installment by the choreographer ‘Ode a ma mere’ as a response to the collection of works titled ‘Maman’ by Bourgeois, representing and paying homage to motherhood and the strength of a maternal figure. Now in 2015/16 ‘May I please leave the table’ explores the disintegration of a relationship from within. The work explores how the breaking of a dysfunctioning relationship is not without effect to the youngest onlookers, even if scrupulously hidden from their eyes. The perspective of the child is the main focus of the piece along with an insightful commentary on the state of the relationship and the progression of their unhealthy union. The audience is submerged in an intimate dream like state of the relationship,watching to see how it unravels by witnessing the women trapped within and her passive partner.

Production History:
Performing Arts Studio Scotland, Edinburgh.


Artistic Statement:
Ana Norrie-Toch is a freelance choreographer who works within dance and physical theatre, working with dancers and actors and often collaborating with the two. Ana works closely as an Associate Artist with Yellow Magpies Theatre Company who recently premiered “Once this is all over we still have to clear up” at the Babel International Theatre Festival. Recently nominated for the 2015 Creative Artist award Edinburgh, Ana expanded her experience with site specific work collaborating with artist Julie Duffy and the Gallery of Modern Art (Awaiting result). As a choreographer she creates work that fuses dance and theatre, where character creation is as important as it’s physical expression. The work touches on the nature of various relationships we encounter in life using highly thought out symbolism that spans both movement and theatrical expression. Ana also has experience leading movement workshops for actors and aims to encourage a further relationship between actors and dancers. Her own personal experiences fuel her work bringing to the surface frustrations which would otherwise remain untouched. The work gives form to where these thoughts and emotions can be vocalised, explored and resolved, or not. She stresses the importance of addressing these disquieting themes with the audience, who may be unfamiliar with or who would rather leave concealed or disown.






Photo by: Suzanne Hefron

This post is part of a series of profiles on performance and performance makers from this year’s book, Contemporary Performance Almanac 2016, an overview of contemporary performance presented during the 2014/2015 season available for touring now. If you would like to be apart of next year’s book, Contemporary Performance Almanac 2017, you can join the project here. 


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Caden Manson is Editor In Chief and Curator of Contemporary Performance Network and co-founder and artistic director of Big Art Group, a New York City performance company founded in 1999.

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