January 8th, 2010
January 7th, 2010
January 6th, 2010
January 5th, 2010
January 4th, 2010
January 3rd, 2010
A phone is ringing in an empty office on the 40th floor of the IDS Center…you pick up the reciever and embark on an hourlong personal performance experience that crosses continents, dissolves borders between audience and performer, and challenges cultural expectations. German collective Rimini Protokoll has created “a thrillingly intimate production, which asks us to make the decision to be an audience member in an unusually active way” (Time Out New York). This event is a part of Out There 2010.
January 8-31
$20 ($16 Walker members)
Appointments (on the hour): Tuesday-Friday, 5-10 pm; Sat-Sun, 12 noon-9 pm
IDS Tower, 40th floor, 80 South Eighth Street, Minneapolis
This is a solitary performance experience. Two appointments are available each hour, and reservations may be made in pairs. Please make your advance reservation soon; spots are limited. Call 612.375.7600.
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From the Walker Arts Center Blog:
Our presentation of Call Cutta in Box in January has people intrigued and perhaps a bit anxious. Allow me to allay some fears. I caught the work last January in NYC but before I made my appointment, I waffled through my own slight suspicions … this sounds so odd – how could this be entertaining? … there’s a real chance it could be dull or simply intrusive … maybe I’m not wanting to give anything of myself today. I chose to ignore my instincts and take the plunge. It proved to be one of the most memorable performance experiences I have had, and believe me, I’ve had a few.
Maybe it was the anonymity (if I felt inclined, I could tell this person anything I wanted, we would probably never meet), or being alone in a strange office, or perhaps it was the thousands of miles between us. Whatever it was, I was completely engaged in this piece and found it absorbing, subtly mysterious, and utterly charming. My call center agent, Alakananda, elegantly guided me along our increasingly interactive (and surprise-filled) conversation, and we freely exchanged ideas on geography, work, religion, art, family – not exactly soul-searching metaphysical stuff, but I felt that there was a deeper connection, like she was an old dear friend that I had just met.
As this “phone play” is a connection between two people that shadows in and out between performance and real life, no two interactions will be exactly alike. So I’d suggest you make an appointment with a friend (we have set up the piece so that it runs in two offices simultaneously), then grab a pint or some palak paneer after the experience and talk it all over. Take a 60-minute chance – it may change the way you think about our weird wired world, who we are, and why on earth are we in Minnesota in January. This memorable experience (with great views from the IDS Tower!) is certain to spark contemplative smiles and a fresh set of questions.
Support provided by Producers’ Council members King’s Fountain/Barbara Watson Pillsbury and Henry Pillsbury:
Performance space provided by Lindquist & Vennum PLLP.
The 7th edition of the Festival “CONTEXT – Platform for Contemporary Dance” is entitled “Anaesthesia of Emotions”. The starting point for the programme is the observance that in recent times emotions have been granted a special amount of attention. However it remains to be seen whether we are dealing with a boom or with a taboo concerning emotions. The sciences are already speaking about an “emotional turn”, while the arts sections of the newspapers have controversial debates about the appropriateness of speaking about emotions. What is the current state of our individual and collective emotional life? Are emotions on the advance, or are they being increasingly suppressed?
CONTEXT #7 takes a closer look at how emotions and attitudes are being staged with the means of the theatre. The main focus is on dance productions, performances and installations that reflect on strategies of producing and manipulating affects. In addition to that, and in co-operation with the cluster of excellence “Languages of Emotion” at Freie Universität Berlin, there will be a series of lectures on January 30 and 31 on the Festival’s topic in its cultural and social context. In two workshops in Authentic Movement and Body-Mind Centering the link between motion (movement) and emotion will be explored under the guidance of international experts.
Hebbel Am Ufer (Berlin)
January 26 – February 06, 2010
Yesterday the Village Voice published a piece by Tom Sellar titled “The City’s Best (And Not So Best) Progressive Theater”. Its one of the only “end of the year/decade” piece to focus on progressive/experimental/avant-garde work and companies. In it he poses…
Ten years into the 21st century, it seems a fitting time to look at the state of New York City’s theatrical avant-garde. How has it evolved over the past decade? Who’s doing the most inventive work, and who’s coming up short? What exactly constitutes a vanguard these days, and where is it heading?
Big Art Group, Radio Hole, Nature Theater of Oklahoma, Thomas Bradshaw, Young Jean Lee, Richard Maxwell, Les Freres Corbusier, Cynthia Hopkins, Elevator Repair Service, Witness Relocation, The TEAM, Taylor Mac, Sibyl Kempson, Improv Everywhere, and Mike Iveson are discussed among others.
Ultimately, there are degrees of “avant-garde”: Not many artists today call for, say, burning down museums and libraries in the name of new technology, as the Italian Futurists did a hundred years ago. Nor do we hear many downtown voices calling for a new order, or even for an end to a disastrous war—as theatermakers here did in the 1960s. In 21st-century New York, aspirations look milder and more careerist: Experimental stage artists want creative outlets and a responsive public. Understandably, they also seek good publicity and financial relief. But in the next era—now under way—there’s an appetite and opportunity for enlarging the theatrical experience in New York. If anyone can seize the day, it may be Big Art Group, Nature Theater, and anyone else with the intellectual muscle to build up the vanguard.
Read the full article here
P.S.1 announces Saturday Sessions, a new program of emerging performance art that will take place on the second Saturday of each month. Designed to introduce new performance artists to New York audiences, the events will range from music to site-specific actions, Saturday Sessions debuted on November 14 with multimedia performances by Sahra Motalebi and J. Patrick Walsh 3. While P.S.1 has had a long tradition of showcasing performance-based art, from the Butoh dance of Min Tanaka to the films of Jack Smith, this is a new formalized program presenting a younger generation of artists.
January 9, 2010 at 4pm
Jibade-Khalil Huffman and Desi Santiago
In conjunction with Rising Currents open studios, 2-6pm
Jibade-Khalil Huffman presents Monster Island Czar, an epic poem that takes the form of a slide show. A poet and a photographer, Huffman’s interdisciplinary approach invites notions of chance and indeterminacy by allowing the projectors and computers to run at different speeds and create different combinations of words, images, and sounds. With the Dadaists and William S. Burroughs cut-ups in mind, Huffman’s performance interweaves visual art and literary tradition.
Desi Santiago is a New York-based visual and performance artist and is a member of the dance group Escandalo. His large scale installations and performances often engage the collaboration of musicians, burlesque and dance performers, light shows, and elaborate costumes that he designs. Using scaffolding to create both a theatrical stage and layering of actions, Santiago’s performances draw on various New York scenes including club, fashion, art, and house music, creating ceremonial experiences from their respective vocabularies and iconography.
APAP: Faye Driscoll
There is so much mad in me
Jan 8 at 3pm
FREE
Reservations are encouraged.
In a time of distraction, voyeurism and over stimulation, how do we experience authentic connection? Faye Driscoll investigates the physical and theatrical narratives that drive our misplaced need to be seen. From creating facades to seeking the divine to committing violent acts and falling in love, There is so much mad in me looks into the ways we fail, succeed, and get lost in the chase for true connection.
Latitude 14 provides a framework for the artist-driven projects of its affiliates. These include its founders: Christina Campanella (composer/performer), Mallory Catlett (director & dramaturg), Stephanie Fleischmann (writer), and Peter Norrman (video artist & filmmaker), who began working together in 2005, and were quickly joined by Chris Lee (singer & writer), Jesse Hawley (performer), Mirit Tal (media designer), Miranda Hardy (lighting designer), Matt Verta-Ray (musician/visual artist), Jeremy Wilson (audio engineer & sound designer), and collaborating artists Sam Baker (multiinstrumentalist), Jim Findlay (set designer), Erich Schoen-Rene (cellist), and Maedhbh Mc Cullagh (producer).
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Red Fly/Blue Bottle is Latitude 14’s second project to reach fruition. The first was Tinder, a 30-minute live-art/video installation, which premiered at the EXIT Festival in Creteil, March, 2009. Red Fly/Blue Bottle was developed via a three-year residency at HERE Arts Center, as well as residencies at Gertrude Stein Repertory’s Digital Performance Institute, Lower Manhattan Cultural Council’s Swing Space, The Chocolate Factory (Long Island City) and Chashama. Excerpts and works-in-progress have been presented at HERE, The Chocolate Factory, Prelude ’07, BRIC and PS 122’s Avant-Gardarama. The full production premiered at HERE Arts Center April 8–May 2, 2009, and was featured at the Noorderzon Performing Arts Festival (Groningen, NL) in August 2009.
Latitude 14 has received support from the Mid Atlantic Arts Foundation, New York State Music Fund, NYSCA Individual Artists program (Film, Media and New Technology Production and Theater commissioning), the Greenwall Foundation, the Tobin Foundation, the David Bohnett Foundation, American Music Center, Meet the Composer, Experimental Television Center, and numerous individuals.
TINDER
January 8-9, 2010
Here Arts Center
An idiosyncratic song cycle about departure and return and the ephemeral nature of insects. To create Tinder, Latitude 14 recontextualized eight songs from Red Fly/Blue Bottle, their spectacularly received multimedia event that bridged concert, cabinet of curiosities, and video installation. Veering between the miniature and larger than life, high-tech and low, absolute restraint and deep reserves of emotion, Tinder melds a street-busking sensibility with high art to deliver richly layered songs and spellbinding video.
Over the next two weeks 5 festivals and multiple showings of contemporary performance will be presented along side the annual APAP convention. Its a great opportunity to catch some local, national and international work.
American Realness Festival (Abrons Arts Center & others)
Under the Radar (The Public & others)
COIL Festival (PS122)
Other Forces (Ontological)
Culturemart (Here)
and APAP showings at DTW
Here are our highlights of the festivals.
Last Meadow is a new evening length work using original choreography and writing mixed with stuff from James Dean’s three movies to look at the myth of America the father, and confusion as a potentially transformative, sensory-enlivened state.
ABRONS ARTS CENTER
466 GRAND STREET
TICKETS $15
FRIDAY JANUARY 8 at 7pm
SATURDAY JANUARY 9 at 9:30pm
SUNDAY JANUARY 10 at 1pm
Sherry, Ann Liv Young’s newest performance alter ego uses techniques from church, Alcoholics Anonymous and traditional psychology in her own
brand of performative therapy. She is about fixing your issues, whether it’s marital trouble or a lack of creativity in the kitchen.
While you can’t get much whiter than Sherry she is sexually and racially progressive, working alongside two colored people. And her methods, though traditional in some sense, are more likely to involve pork chops, mayonnaise and chocolate sauce than a weekly visit to your therapist. Whatever Sherry does, Ann Liv Young says it works and she has proof.
ABRONS ARTS CENTER
466 GRAND STREET
TICKETS $15
FRIDAY JANUARY 8 at 10pm
SATURDAY JANUARY 9 at 5pm
SUNDAY JANUARY 10 at 9pm
LUCIANA ACHUGAR
Franny and Zooey
Franny and Zooey makes the audience hyper aware of their physical presence in the theatre and their role as voyeur by bringing to the foreground the space and time gap between the process and the moment of performance.
ZOE|JUNIPER
A Crack in Everything
For A Crack in Everything, Co-Artistic Director and Choreographer Zoe Scofield creates a feral ballet of aggression and catharsis inside a highly controlled, modular and crafted environment designed and built by Co-Artistic Director Juniper Shuey.
LAYARD THOMPSON
cUp—pUck…
Thompson’s clownish work seriously employs psychological movement and recycled materials to question the nature of gender, sexuality, materiality, consumption and the paradox of the self as a verb.
ABRONS ARTS CENTER
466 GRAND STREET
TICKETS $15
SATURDAY JANUARY 9 at 1pm
SUNDAY JANUARY 10 at 5pm
A hallucinogenic play about the body’s relationship to the untenable, the great void, the grain of sand in the vastness of empty space, with a revelation that life is about moving towards love and not away from it.
ABRONS ARTS CENTER
466 GRAND STREET
TICKETS $15
SUNDAY JANUARY 10 at 5pm
Jack Ferver’s A Movie Star Needs a Movie isa darkly satirical new work about the relationship between shallow ambition and fame.
ABRONS ARTS CENTER
466 GRAND STREET
TICKETS $15
SATURDAY JANUARY 9 at 5pm
SUNDAY JANUARY 10 at 9pm
Twenty Looks or Paris is Burning at The Judson Church (S) takes a new critical position on postmodern dance aesthetics emanating from the Judson Church period. By developing his own work as an imaginary meeting between the aesthetics of Judson and those of a parallel historical tradition, that of Voguing, Trajal Harrell re-writes the minimalism and neutrality of postmodern dance with a new set of signs.
PRESENTED BY:
THE NEW MUSEUM
235 BOWERY AT PRINCE STREET
TICKETS $18
THURSDAY JANUARY 7 & FRIDAY JANUARY 8 at 7pm
In a bold and violent juxtaposition of movement, text, animation and video of manga (Japanese comics) drawing, Wade takes a playful and cynical look at Japanese kawaii (cute) culture— from the infantile fluff of Hello Kitty to teenage doe-eyed love portrayed in anime— exploring its ubiquitous influence on the world today.
PRESENTED BY:
THE JAPAN SOCIETY
333 EAST 47TH ST (btwn 1st and 2nd Aves)
TICKETS $20
MONDAY JANUARY 11 at 730
See American Realness Website for dates and times.
Sunday Afternoons, in his living room and for a limited audience, a character named Serge performs 1-3 minutes
numbers based on special effects. Low-key humor and homespun magic always merge in Quesne’s work.
Thurs. Jan 7th 7:30pm
Fri. Jan 8th 7:30pm
Sat. Jan 9th 7:30pm
Sun. Jan 10th 7:30pm
Mon. Jan 11th 7:30pm
Thurs. Jan 14th 7:30pm
Fri. Jan 15th 7:30pm
Sat. Jan 16th 7:30pm
Inspired by the popular lecture circuits of the 19th century, Chautauqua! Weaves lectures on history, culture,
capitalism with live music, slapstick, magic, dance and melodrama. Chautauqua! Features guest lecturers, performers, and surprises in a celebration of the culture we all share and the moment in which we share it.
Thurs. Jan 7th 9:30pm
Sat. Jan 9th 7pm
Tues. Jan 12th 9:30pm
Thurs. Jan 14th 9:30pm
Fri. Jan 15th 9:30pm
Sat. Jan 16th 9:30pm
Sun. Jan 17th 3pm
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Performed by and created in collaboration with Jonathan Capdevielle
Jerk is an imaginary reconstruction, with puppets, of the crimes perpetrated by American serial killer Dean Corll who, with the help of teenagers David Brooks and Wayne Henley, killed more than twenty boys in Texas during the mid-70s.
Thurs. Jan 7th 6:30pm
Sat. Jan 9th 7pm
Sun. Jan 10th 9:30pm
Mon. Jan 11th 9:30pm
Thurs. Jan 14th 10pm
Fri Jan 15th 7:30pm
Sat. Jan 16th 10pm
Sun Jan 17th 6pm
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Ads marks a new departure in the work of celebrated downtown auteur Richard Maxwell. In collaboration with photographer/cinematographer Michael Schmelling and Wooster Group technical director Bozkurt Karasu, Maxwell asks whether theatre is possible without a human presence.
Wed, Jan 6 at 10pm | Fri, Jan 8 at 7pm | Sun, Jan 10 at 10pm | Tues, Jan 12 at 10pm Thu, Jan 14 at 10:30pm | Fri, Jan 15 at 8pm | Sat, 16 at 10:30pm | Sun, Jan at 17 5:30pm
EXTENDED at PS122 Wed, Jan 20 – Sun, Jan 31 (Wed – Sat 8pm, Sun 6pm)
ADDED LATE SHOWS: Sat, Jan 23 + Sat, Jan 30 at 10pm / NO SHOW: Thu, Jan 21
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Presented by Brian Barnhart, Axis Theatre and Richard Jordan Productions Ltd
Edgar Oliver weaves a fantastical and hilarious voyage through the dark and strange rooms of his East Village tenement building.
Wed, Jan 6 at 9:30pm | Thu, Jan 7 at 9:30pm | SPECIAL MIDNIGHT SHOW: Sat, Jan 9 | Sun, Jan 10 at 4:30pm |Mon, Jan 11 at 7pm | Tue, Jan 12 at 7pm | Thu, Jan 14 at 7:30pm | Fri, Jan 15 at 10pm | Sat, Jan 16 at 7:30pm | Sun, Jan 17 at 8:30pm
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For his next work Gin & “It”, Reid Farrington’s principle source is a film from the Master of Suspense. Again Farrington collaborates with film historians and archivists to bring a classic film to the stage with his own boundary-pushing melding of projected imagery and live drama.
Thu, Jan 7- Sat, Jan 16 9pm
OFFICIAL NY PREMIERE: Performance Space 122 April 2010
*Tickets available through 3LD Art & Technology Center
A Thought About Raya brings to the stage the violent and darkly comedic spirit of Leningrad artist Daniil Kharms, whose idiosyncratic visions and nonlinear theatrical performances led to his arrest, imprisonment, and eventual death during Stalin’s purges. In a series of colliding scenes, vibrant images and absurd turns frame this performance that is part fable, part dance, and part experience. Complex themes of love, sex, violence, and death pepper this simple story of the search for a voice in the midst of chaos. A Thought About Raya premiered in New York City in March of 2004 at the Red Room before transferring to Clemente Soto Velez.
The Debate Society is a Brooklyn based company that creates new plays through the collaboration of Hannah Bos, Paul Thureen (writer/performer/designers) and Oliver Butler (director/developer). Typically shaping a new play via a rigorous 12-18 month development process, the company specializes in creating unexpected stories set in supremely intricate, vividly theatrical worlds. The trio’s plays include A Thought About Raya, The Snow Hen, You’re Welcome (Dixon Place), The Eaten Heart (Ontological-Hysteric Incubator) and Cape Disappointment (PS122). The company’s past tour destinations include Portland, OR, Austin, TX, Hartford, CT, Martha’s Vineyard, MA and Syracuse, NY.
Thurs, Jan 7, 6p.m.
Sat, Jan 9, 1p.m.
Sun, Jan 10, 7:30p.m.
Mon, Jan 11, 1p.m.
Tues, Jan 12, 6p.m.
Fri, Jan 15, 7:30p.m.
Bellini’s pastoral opera, La Sonnambula is peeled back to reveal the experience of young Amina on the day before her wedding, surrounded by her village but lost in her own mind. A sleepwalker, Amina exists in the space between sleeping and wakimg, vibrant and lifeless. Visceral choreography of two dancers converges with puppetry on multiple scales. Amina’s world decomposes. Soprano Mme. Giuditta Pasta, is brought to life, moments before she steps onto the stage of La Scala, 1831.
Lucid Possession is a schizoid duet between a woman with a head like a radio receiver and her own avatar. The uncanny manifestation of a virtual multiple personality plagued by ghosts from the past, this automated video pop-up book forges an entirely new form: let’s call it cinematic bunraku. Live performers animate video bringing characters to life through motion, voice, and robotics. On-stage, Toni Dove and composer and violinist Mari Kimura control the physical and virtual movements of video and robotic entities. Performer, Hai-Ting Chinn sings and speaks through the Avatar, alongside songs and musical interludes by Elliott Sharp and Mari Kimura. Software designer R.Luke DuBois and roboticist Leif Krinkle control additional layers of light, sound and movement.
Tere O’Connor’s new evening-length work Wrought Iron Fog premiered at Dance Theater Workshop in November 2009. The Financial Times writes, “A spirit of experimentation regularly drives Tere O’Connor’s dances, but the abundance of invention in Wrought Iron Fog beggars the imagination – and feeds it.” Wrought Iron Fog features an original score by longtime collaborator James Baker, lighting design by Michael O’Connor, set design by Walter Dundervill, and is performed by Hilary Clark, Daniel Clifton, Erin Gerken, Heather Olson and Matthew Rogers.
In a time of distraction, voyeurism and over stimulation, how do we experience authentic connection? Faye Driscoll investigates the physical and theatrical narratives that drive our misplaced need to be seen. From creating facades to seeking the divine to committing violent acts and falling in love, There is so much mad in me looks into the ways we fail, succeed, and get lost in the chase for true connection.
December 31st, 2009
December 30th, 2009
December 28th, 2009
December 24th, 2009
December 23rd, 2009
December 14th, 2009
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December 12th, 2009
December 11th, 2009
![Matthew Lutz-Kinoy Studio Danse 2006 video [large detail of still from video installation]](https://i0.wp.com/contemporaryperformance.com/wp-content/uploads/2009/12/Lutz-Kinoy_Studio_Danse.jpg?ssl=1 "Lutz-Kinoy_Studio_Danse")
December 11th, 2009
December 10th, 2009
Highlights: Coil Festival at PS122 (NYC)
December 7th, 2009
December 2nd, 2009
(from the artists’ website) Implied Violence makes plays that are not plays. We make theatre that may or may not be theatre. We generate pieces that are rooted in an internal logic and rigid structure that audiences may or may not understand. However, our work does not beg to be understood. We don’t care to be understood, to understand is to lie.
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Implied Violence is an intimate, intelligent, connected group of emerging artists who create work with and for one another. We are mercurial youngsters with style and wit. We keep secrets and speak in code.
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No Friends, Only Enemies
Strike Through – Dateless Oblivion and Divine Repose
Our Summary In Sequence: Eat, Fight, Fuck
Our Summary In Sequence: Versus
Our Summary In Sequence: Barley Girl9/11 – The Clown Show
One Pot + Implied Violence
The Belmont
Come To My Center You Enter The Winter
In Between More And More History
I confess. I need these confections. I can’t go to sleep.
The Air Is Peopled With Cruel And Fearsome Birds
Cupcakes, Cupcakes, Yes And More Cupcakes
Die Wandlung
Everything Without Exception
4:48 Psychosis
All Sleep Here
Vertebrae Theatre
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December 10, 2009 – February 15, 2010
Watermill Brooklyn Gallery / Byrd Hoffman Watermill Foundation
111 Front Street, #216
Brooklyn, NY
Curated by Dmitry Komis
Maria José Arjona (Colombia)
C. Ryder Cooley (USA)
Robin Deacon (UK)
GIRLMACHINE – Carlos Soto & Charles Chemin / Christian Wassmann / Luisa Gui (USA, France, Switzerland, Italy)
H.E.R.D. Group (Ireland, South Korea)
Implied Violence (USA)
Klingon Terran Research Ensemble (Holland)
Katharina D. Martin (Germany, Holland)
Katherina Radeva (Bulgaria)
Joshua Seidner (USA)
Steven Vega (USA)
The Watermill Brooklyn Gallery is pleased to announce a group exhibition of performance work developed at the Watermill Center during the 2009 Spring and Fall Artist-in-Residence Programs. The exhibition highlights various stages in the residency process; from early workshops and open rehearsals at Watermill, to completed staging and performances at festivals and biennials. Many of these residencies have already gone on to perform in venues across the USA and Europe. NYC audiences may have recently seen GIRLMACHINE at Performa, four Watermill residencies at the New Island Festival (on Governor’s Island) in September, or artists Steven Vega and Joshua Seidner, who performed at the Esquire event at Soho House this October.
Highlights include: C. Ryder Cooley’s lyrical performances, which combine aerial movement with live music and projected visual accompaniment, are shown as performed at Watermill, and later as part of New Island Festival on Governor’s Island. Katherina Radeva’s open rehearsal of Native Birds is exhibited with a future staging at Toynbee Studios, London, alongside original drawings. Implied Violence’s work, developed at Watermill and exhibited as part of New Island Festival, will be presented at the Danube Festival outside of Vienna in the spring of 2010. Maria Jose Arjona’s work has since been exhibited in Columbia and Germany, and most recently at Pulse Miami. Joshua Seidner’s Powderburn , developed in its earliest phase at Watermill, is shown reinterpreted as part of an event at Esquire Soho in October. GIRLMACHINE, workshopped at Watermill, became one of the highlights of the recent Performa 09 biennial of performance art in November. These and other works in the exhibition exemplify the diverse performative strategies developed at Watermill, and the lives these projects have after.
About Watermill Brooklyn Gallery
Watermill Brooklyn Gallery is an exhibition space in the DUMBO neighborhood of Brooklyn which brings the events and projects developed at the Watermill Center on Eastern Long Island to a larger audience in New York City. The gallery promotes Watermill’s artists-in-residence, the vast and eclectic Watermill Collection, as well as other events and collaborators at Watermill.
The gallery is operated by the The Byrd Hoffman Watermill Foundation, a not-for-profit, 501(c)3 tax-exempt organization chartered in 1969 in the State of New York. BHWMF, as operator of the Watermill Center, seeks to develop new approaches to the arts; to provide young people of diverse cultures with opportunities for artistic growth; and to document the work of its Artistic Director, Robert Wilson, and his contemporaries. In addition to the Watermill Center, the Foundation manages the Robert Wilson Archive and the Watermill Collection. The offices of BHWMF are located in Brooklyn, New York.
At a time when international perspectives of American dance hang onto Merce Cunningham and Trisha Brown, and too
many American performing arts presenters are afraid of dance that traverses the heritage of lights and tights, AMERICAN REALNESS commands attention to the proliferation of choreographic practices transcending the traditions and expanding the definition of American dance and performance.
REALNESS: A slang term born from the LGBT community defined by the ability of a drag queen, transgender
or other LGBT person to look like or pass as the opposite gender.
AMERICAN REALNESS: An expansion of REALNESS beyond gender roles into style, ways of life and art making.
AMERICAN REALNESS presents and highlights the work of eight contemporary choreographers during APAP 2010; the Annual Association of Performing Arts Presenters Conference, January 8-15, 2010, to debunk stilted perceptions of American dance and give way to a new notion of American contemporary performance.
“But virtually every great modern dance company was founded more than 40 years ago. Where is the
current, not to mention next, generation of great modern dance companies to carry the torch?”
– MICHAEL KAISER, THE HUFFINGTON POST
Last Meadow is a new evening length work using original choreography and writing mixed with stuff from James Dean’s three movies to look at the myth of America the father, and confusion as a potentially transformative, sensory-enlivened state.
ABRONS ARTS CENTER
466 GRAND STREET
TICKETS $15
Sherry, Ann Liv Young’s newest performance alter ego uses techniques from church, Alcoholics Anonymous and traditional psychology in her own
brand of performative therapy. She is about fixing your issues, whether it’s marital trouble or a lack of creativity in the kitchen.
While you can’t get much whiter than Sherry she is sexually and racially progressive, working alongside two colored people. And her methods, though traditional in some sense, are more likely to involve pork chops, mayonnaise and chocolate sauce than a weekly visit to your therapist. Whatever Sherry does, Ann Liv Young says it works and she has proof.
ABRONS ARTS CENTER
466 GRAND STREET
TICKETS $15
LUCIANA ACHUGAR
Franny and Zooey
Franny and Zooey makes the audience hyper aware of their physical presence in the theatre and their role as voyeur by bringing to the foreground the space and time gap between the process and the moment of performance.
ZOE|JUNIPER
A Crack in Everything
For A Crack in Everything, Co-Artistic Director and Choreographer Zoe Scofield creates a feral ballet of aggression and catharsis inside a highly controlled, modular and crafted environment designed and built by Co-Artistic Director Juniper Shuey.
LAYARD THOMPSON
cUp—pUck…
Thompson’s clownish work seriously employs psychological movement and recycled materials to question the nature of gender, sexuality, materiality, consumption and the paradox of the self as a verb.
ABRONS ARTS CENTER
466 GRAND STREET
TICKETS $15
A hallucinogenic play about the body’s relationship to the untenable, the great void, the grain of sand in the vastness of empty space, with a revelation that life is about moving towards love and not away from it.
ABRONS ARTS CENTER
466 GRAND STREET
TICKETS $15
Jack Ferver’s A Movie Star Needs a Movie isa darkly satirical new work about the relationship between shallow ambition and fame.
ABRONS ARTS CENTER
466 GRAND STREET
TICKETS $15
Twenty Looks or Paris is Burning at The Judson Church (S) takes a new critical position on postmodern dance aesthetics emanating from the Judson Church period. By developing his own work as an imaginary meeting between the aesthetics of Judson and those of a parallel historical tradition, that of Voguing, Trajal Harrell re-writes the minimalism and neutrality of postmodern dance with a new set of signs.
PRESENTED BY:
THE NEW MUSEUM
235 BOWERY AT PRINCE STREET
TICKETS $18
In a bold and violent juxtaposition of movement, text, animation and video of manga (Japanese comics) drawing, Wade takes a playful and cynical look at Japanese kawaii (cute) culture— from the infantile fluff of Hello Kitty to teenage doe-eyed love portrayed in anime— exploring its ubiquitous influence on the world today.
PRESENTED BY:
THE JAPAN SOCIETY
333 EAST 47TH ST (btwn 1st and 2nd Aves)
TICKETS $20
See American Realness Website for dates and times.
Contemporary Performance is a social network and community organizing platform providing artists, presenters, scholars and festivals a platform to meet, share work, and collaborate. The term Contemporary Performance is used to describe hybrid performance works and artists that travel between the fields of Experimental Theatre & Dance, Video Art, Visual Art, Music Composition and Performance Art without adhering to one specific field’s practice.
Contact us: editor@contemporaryperformance.com
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