Posts Tagged ‘NYC’
DV8 OPEN AUDITIONS: NYC
“Out, adventurous and in-your-face, DV8 Physical Theatre is a stroppy tomboy in the genteel world of dance.”
-the guardian
DV8 Physical Theater is a touring company dedicated to creating audacious works motivated solely by artistic need and concentrates on breaking down the barriers between dance and theater. Under the direction of Lloyd Newson, DV8 has produced 16 highly acclaimed and award winning performance and film works since their beginning in 1986, including Enter Achilles, Strange Fish, and the unconventional sensation The Cost of Living.
DV8 will be hosting open auditions in New York City on Saturday, 19 November at Chelsea Studios (callbacks 11/20/11). The company is seeking highly experienced diverse dancers for a new work to be developed in 2013/14, and for roles in the Can We Talk About This? tour in 2011/12.
Date/Time:
19th November 2011
10am – 6pm
REGISTRATION: 9am
(Callbacks to be held by invitation only on Sunday, November 20)
Venue:
Chelsea Studios*
151 West 26th Street, between 6th and 7th Avenues
New York, NY 10001, USA
For more info about auditions click here.
Dance Film Lab with Zach Morris
Organized and directed by Zach Morris of Third Rail Projects, the Dance Film Lab is a community-building, monthly series for dance filmmakers to gather; share information, methods, and tools; and address technical, practical and artistic challenges, co-presented by Dance Films Association (DFA) and Dance New Amsterdam (DNA).
For full schedule and information visit Dance Film Lab
The event is free for DFA and DNA members. For non-members, there is a $10.00 drop in fee. If you are interested in attending, please email brighid@dancefilms.org, with Dance Film Lab in the subject line to RSVP.
Yaa Samar! Dance Theatre Premieres BOUND and Curates Kinetic Cinema
Movement Media is proud to announce that on December 3rd, Kinetic Cinema will be curated by Yaa Samar! Dance Theatre, a New York-based contemporary dance theatre company that has developed a unique process using Skype to create new work during the temporary relocation of Artistic Director Samar Haddad King to Palestine.
On October 21 & 22 the company will premiere their latest performance project, Bound at the LaGuardia Performing Arts Center, examining the lives of nine individuals living under occupation. For Kinetic Cinema, they will provide a demonstration of their unique working technique with Samar Haddad King live on Skype, along with a curated selection of videos related to Bound.
Yaa Samar! Dance Theatre has been hailed as “awesomely athletic” by Chicago Stage Style, and “Like a ray of light coming out of the arid desert…leaving the audience mesmerized in their seats” by Hussein Daaseh, Al Rai. You can more about their long distance creative process in this article by Jennifer Edwards for the Huffington Post.
Here is a video about the making of Bound.
http://www.vimeo.com/29074203BOUND
October 21-22, 2011 at 7:30pm
LaGuardia Performing Arts Center, Mainstage Theater
31-10 Thomson Ave, Long Island City
7 Train to 33 St/ Rawson St
Tickets: $15 Advance / $20 at the door / $10 Students
www.ysdt.org
Kinetic Cinema with Yaa Samar! Dance Theatre
Saturday December 3rd, 4:30pm
CRS (Center for Remembering & Sharing)
123 4th Ave, 2nd FL
New York, NY 10003
212.677.8621
info@crsny.org
$10 suggested donation
The White Box Project
As a student in the Florida State University in NYC program, I was fortunate enough to be invited into Noémie LaFrance’s work studio in Williamsburg, Brooklyn, to discuss her new project. Sitting in wooden chairs in the homey brick apartment, Noémie entered the room spewing information about her newest work, the White Box Project. In response to our questions, she explained that she is ever-interested in infusing dance with the everyday. The Black Box is known as a place to sit in an audience and to be spoonfed a presentation. Hence, the White Box.
Successfully, the White Box Project is the furthest thing from a proscenium, concert dance performance. As I entered the museum space, I was approached by what I thought to be a fellow observer, and naively pushed out the back door into the cement enclosed porch. The crowd chattered and looked around skeptically, until suddenly and miraculously the room fell totally silent (a brilliant tactic brought about by the performers, I realized on my second visit). As the hour passed, it became clear that at least one of the men in the room was a performer. He, in my opinion, took on the role of the initiator; the leader. Otherwise, I was completely unsure as to who was a performer, and who was an observer. As a woman dressed in a trendy black coat and heels stood inches from my face and proceeded to lie down on the cement in front of me, I battled myself with whether I should do the same.
The feeling of uncertainty gradually melted away, as we were put into groups by a few men and women, and whispered instructions…“On the count of three, run!” By the end, I felt more like a child playing games in the schoolyard than an audience member.
Noémie invited everyone in attendance that Saturday back to another showing, free of charge, to witness the constant changes being applied to the project each day. I arrived the next week, eager to scrutinize the events I knew would happen and to identify the changes, of which there were several. This time, there was more dialogue between the dancers and the crowd; I was asked incognito to learn a succinct dance step, and teach it to another. Again, the realization that everyone was in clear groups/teams near the close of the work came with a playful sentiment. I was a participant, not a spectator. I cannot assume that this feeling fell upon every person in the ‘box’, but each individual surely brought something of their own to the experience, simply by entering the space.
The White Box is not a dance show. It is instead a mind game of sorts. Whether or not one chooses to run and turn the length of the walls at the demands of a scruffy man whose role is unknown is irrelevant. Choosing to act is participation. Choosing not to act, also, is participation. The audience ultimately, and blindly, has control of the show.
Carly Lozo is a dance major at Florida State University and an intern with Pentacle’s Movement Media this fall.
9/11 and the Arts 10 yrs Later
Performa 11, one of two new festivals in NYC that defy artistic boundaries post-9/11
Like many people, the 10th Anniversary of 9/11 brought up many “What if’s” for me. What would my life be like now if 9/11 hadn’t happened? What would my art look like? What would the fields of dance and dance film look like? And then after being baffled by those questions, I started to think about what actually did happen. How did September 11th, 2001 change my views of my artistic work, and my chosen field of dance?
For me, I wonder if I would have become obsessed with dance for the camera. Without the traumas of 9/11 and the political and cultural awakening it inspired in me, I might not have felt such an urgent need to seek other outlets for artistic expression. In an uncertain world, film and new media gave me hope that my artistic work could make a difference in the world. The feelings of mortality that were triggered by 9/11 made me desperate to be able to create work that would last (ie be able to be watched repeatedly) and the rage and violence that has surrounded the event (and still does to this day) gave me an urgent need communicate with people outside of my tiny circle of acquaintances. I felt that if we were to reconcile with our enemies and restore stability to our lives, then we had to start communicating and learning about each other. Live performance was too limiting for me, I needed to tap into media, and thankfully with the rise of broadband internet that became more possible than ever before. Read the rest of this entry »
