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Contemporary Performance Website is a resource for artists, scholars and audiences. 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.
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Performing Art 3 Days / Prolegomena and Hawsers (Teatro Rossi Aperto, Pisa, Italy) 28.29.30 – 06 – 2018 Deadline: 23:59 / 31st May 2018 Online Application: https://superazione.files.wordpress.com/2018/04/en-opencall-3days-2018.pdf Fee to Participate or Apply: Free Description Of Opportunity: Performing Art 3 Days / Prolegòmeni e Gómene Collettivo Superazione – Teatro Rossi Aperto in Pisa, Italy 28.29.30 – 06 – 2018 Starting from a free analysis of the concept of /Prolegòmeni e Gómene (Prolegomena and Hawsers)/, the artists are asked to develop that topic in the form of a performance, in accordance with the following Regulation. The performance shall be played live during the 3 days Performing Arts Festival which will take place at Teatro Rossi Aperto in Pisa. Prolegòmeni e Gómene (Prolegomena and Hawsers) Prolegòmeni – esplanatory dissertations introducing a theory, the subject of a study, a doctrine. Gómene – twisted hemp hawsers, mooring ropes for boats. Hence: a line of words meant to validate other words, to unite or divide; a material line supported by gestures, to leave or land. Prolegòmeni e Gómene, they have much in common in addition to the wonderful and suggestive assonance of the terms; they show two different yet similar relational ways implying a motion which is both approaching and detaching. Thoughts have a long way to go before recognizing the docking (or sailing) place in a harbour, in a location with a sense of unknown, belonging, somebody. Much of the definite motion, be it leaving or coming back, becomes more precise through reasoning and speculation. Individual behaviours leading to collective meanings cannot help introducing personal thoughts and actions. It can happen in art, inside or outside the “polis”, but it’s always part of an adventure. How To Apply: 1 – Criteria for participation The call is open to single artists or groups working with contemporary languages in the field of performances. Both unpublished projects and projects that have already been shown will be accepted, provided that they are suitable to be played in the non-conventional spaces of Teatro Rossi Aperto and relevant to the proposed theme. Each artist/company can present only one project. 9 to 12 performances will be selected. 2- How to participate Participation is free. All submitted materials will be archived by the festival organizers and won’t be returned. In order to participate, the following documents shall be submitted: 1. The application form included in this open call, filled in all its parts; 2. A PDF document illustrating/describing the performance and containing all the information needed to understand its execution and poetics. Maximum 2 pages. If the performance has already been shown, the document should also contain a link to a full video documentation of the work. Application forms and PDF documents shall be submitted no later than May 31st 2018 at 23:59 to the e-mail address firstname.lastname@example.org. The selected artists will be provided with: Spaces for the performances Technical support* Buffet during the 3 evenings of the festival Promotion of the event After the selection, a visit to the location will be organized for all the artists who would like to check the place.* The festival will take place in non-conventional spaces. All technical requests should therefore be discussed and agreed with the organizers, who will reserve the unquestionable right to evaluate the feasibility of the project. Participants agree to indemnify the organization from all liability for any injury or damage which may occur in the venues of the festival. All the expenses for the materials needed for the performance and transportation costs are to be borne by the artist. Teatro Rossi Aperto asks the viewers to leave Ass. Cult. Collettivo SUPERAZIONE via Sandro Pertini 121/8 – Calenzano 50041 (FI) c.f. 94265170483 – email@example.com https://superazione.wordpress.com/ a free contribution. 50% of the income (impossible to be quantified now) will be divided among all the artists. 50% of the income will remain at Teatro Rossi Aperto. 3- Selection: Collettivo Superazione will make a first selection of the projects based on their originality, appeal of the artistic languages used, feasibility and CV of the proposers. At the end of the selection, all participants to the call will receive a communication with the results, be they positive or negative, no later than June the 3rd at 23:59 Once the artistic committee has identified the most interesting projects, the organizers will check their feasibility with the artists before confirming the positive final outcome of the selection. 4 – Changes and cancellation The organizers reserve the right to implement at any time supplementary measures or changes to this Regulation, concerning organization, efficiency and safeguard of the artistic level of the festival, without affecting its nature. Should the event not take place for technical and organizational reasons or due to force majeure, the organizers will reserve the right to adopt other suitable solutions which will be immediately communicated to the people concerned. 5- Planning and execution The festival will take place on 28, 29, 30 June at Teatro Rossi Aperto, via Collegio Ricci, 1 – Pisa Each day will be reserved to 3 or 4 artists who will choose one of the available locations in the venue (for further information please visit http://www.teatrorossiaperto.it/il-teatrorossi/ or write to collettivo. firstname.lastname@example.org); performances will be realized during the opening hours of the venue, according to a calendar to be determined. Please send your proposal to email@example.com before 23:59 / 31st May 2018. Contact Email:firstname.lastname@example.org Website: http://superazione.wordpress.com/ LIST YOUR OPPORTUNITIES: Share your open calls, commissions, grants, workshops, classes, festivals, and more with the network. Submit here! These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.
LA Dance Project – Volunteer and Free Master Class Opportunity (LA Dance Project Studios, Los Angeles, United States) May 16th – June 9th Deadline: Online Application: https://doodle.com/poll/4eng7za39ehhvmwa Fee to Participate or Apply: Description Of Opportunity: L.A. Dance Project is thrilled to announce “LIVE from 2245,” the inaugural performance series of the company’s newly opened hybrid performance/work/creative headquarters. We are looking for enthusiastic dance fans and supporters to assist us with various front of house tasks during our performances, May 16 – June 9, 2018. As a thank you for your time and energy, you will receive a ticket to the performance on the night you work. Additionally, volunteers will receive a special invitation to a private company rehearsal -AND- a master class taught by an LADP dancer. Performance Details: LIVE from 2245 L.A. Dance Project Studios 2245 E. Washington Blvd. May 16 – June 9, 2018 Preview Performances May 16 + 17 Opening Night May 18 NO Sunday/Monday performances Program A: Second Quartet by Noé Soulier, Bach Studies (Part 1) by Benjamin Millepied [LA Premiere] Program B: Martha Graham Duets by Martha Graham, Hearts & Arrows and On the Other Side by Benjamin Millepied Volunteers Details: -6:30 pm arrival -Volunteers will help usher guests into the theater, work the box office, or sell merchandise. -For each show day you sign up for, you can expect to work with us for approximately 3 hours (90 minutes working and 90 minutes watching the show). Join Us! June 9th- Open rehearsal from 4-6pm at 2245 June 12th- Master class with David Freeland from 10am – 11am in Studio B (teacher subject to change) How To Apply: Sign up for as many of the performances as you’d like! Sign up here: https://doodle.com/poll/4eng7za39ehhvmwa Contact Email:email@example.com Website: http://ladanceproject.org/ LIST YOUR OPPORTUNITIES: Share your open calls, commissions, grants, workshops, classes, festivals, and more with the network. Submit here! These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.
UNTIL OUR HEARTS STOP Meg Stuart/Damaged Goods NYU Skirball Center May 4 & 5, 2018 When a disgruntled spectator walked out of the theater forty-five minutes into Saturday night’s performance, he took the time before exiting to announce to the room “how embarrassing and disgusting” the work was. The two performers onstage instantly stopped their activity (a playful, inquisitive exploration of each other’s nude bodies) and sprang into defensive crouches, darting glances towards the voice at the back of the house, like startled animals ready to fight. Waves of warm laughter swept through the audience, not only in appreciation of the performers’ quick response, but because their reaction, slyly exaggerated as it was, was shared by many of us. Until that moment, embarrassment and disgust had been refreshingly absent from the space. To conjure these states by speaking the words aloud was not just an ill-timed critique; it felt like an affront, an attempted reimposition of conditions and contexts the performance had worked carefully (and joyfully) to transcend. In a program note, choreographer Meg Stuart discusses the idea of borders, both physical and social. “Our social relationships are built on protocol, fear even,” she writes. “We have a lot of limitations.” Evidently so. In UNTIL OUR HEARTS STOP, Stuart, an American whose work is rarely seen in the U.S., pushes her performers past those limitations. An opening sequence drawing on Stuart’s experience with contact improvisation quickly progresses into even more intimate territory—well beyond the everyday boundaries that keep us at a safe social distance—as the performers map the contours and crevices of one another’s bodies with hands, fingers, mouths, and noses. These explorations are often tinged with the erotic, but explicitly sexual gratification is not on offer; the intention and context are absent. The performers simply accept pleasure when it arrives as a natural consequence of any of their varied modes of touch, as they also accept pain, awkwardness, and discomfort—all of which are entirely different from embarrassment. Doris Dziersk’s purple-carpeted set, part swanky cabaret and part rec room, creates a space that is almost but not quite familiar, a territory with no known rules that allows anything to unfold within its bounds. Though Skirball’s proscenium initially separates us, this territory expands to include the spectators, as the performers draw us into their restless interpersonal experimentation. In lieu of an intermission, the performers make their way into the house, asking questions (“Does anyone have rage?”), offering up objects for tactile encounters (I ended up with a lump of clay, clay which shortly prior had encased the head of the performer who handed it out), and calling out several special guests in the audience. Later, our nostrils are filled with the smoke and sweet scent of incense, and a volunteer is brought up onstage to participate in a classic disappearing act, complete with mirrored compartment. These and other references to magic and mysticism again approach the question of boundaries: between reality and illusion, inside and outside, between what we thought possible and what we see happening in front of us. Near the end of the two-and-a-half-hour piece, the house lights go up and the company faces the audience as performer Claire Vivianne Sobottke presents us with a series of proposals. Is there anyone in the house, she asks, who has the time to walk her to her hotel after the performance? Come up to her room and eat chips? Is there anyone who wants to take the company out clubbing til morning? As she elaborates various scenarios, listing all the things “we” would do together, alternative outcomes begin to take shape in our imaginations, directions the evening could take that we hadn’t conceived of. No one volunteers, however, and Sobottke’s proposals grow ever more manic, as a driving rhythm (courtesy of a trio of onstage musicians who occasionally double as dancers) gradually fills the space. “Can somebody put a spell on us so we don’t feel anything anymore?” she finally calls out. In this cry I hear not a craving for emotional anesthesia, but a wild desire to exist beyond, to inhabit a state outside of our ordinary modes of living and feeling. In staging this desire, Stuart enlists her collaborators and her audience in casting her own spell. A spell for the banishment of embarrassment and disgust; a spell for new forms of relation, calling forth possibilities for connection, support, and release. Photo: Iris Janke
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In 2016 LUCKY TRIMMER launched the LUCKY CHANGEMAKER. This initiative supports artistic projects that use a creative practice as an innovative conduit for a social cause or as a catalyst for social change. Annually LUCKY TRIMMER grants a 500 € award to the recipient of the LUCKY CHANGEMAKER to contribute to the development, continuation or realisation of his/her project. What is the LUCKY CHANGEMAKER grant for? – Projects that embody the LUCKY spirit and that are engaged with physicality, movement and performance. All artistic disciplines are eligible (dance, visual arts, theatre, film/video, music, performance-based arts, interdisciplinary arts). – Projects that increase environmental awareness, promote social equality, showcase art’s social dimension, address cultural responsiveness and social responsibility. – Projects that engage socially underprivileged community members who would normally not have access to culture as equal partners, that encourage under resourced communities to overcome barriers, to participate in creative process and that create equitable access to culture. Who can apply? – Any individual artists, collectives or institutions, regardless of their geographic location. – Artists addressing critical social issues of our times. There are social situations in the world that are deeply affecting people. Our goal is to use art that is engaged emotionally and intellectually to inspire anyone to be agents of change. – We value the process as much as the product. Relationship building is a key goal and projects do not have to automatically result in a physical artwork or a performance. Workshops, training, studio practice are eligible, if they directly relate to achieving outcomes of a community-based project. How to apply? Applicants must submit their proposals via the online form: https://goo.gl/forms/MzVTjp1PaEJ6jbeI3 The deadline for sending in applications is Saturday June 30th, 2018 The initiative/project must be implemented in 2018/2019 (latest by April 2019). Curious? Interested? LUCKY TRIMMER is looking forward to receiving your applications! Do not hesitate to contact us for further queries and watch our short video documentary to immerse yourself into the LUCKY TRIMMER universe: https://vimeo.com/204773683 www.luckytrimmer.com
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Meg Stuart/Damaged Goods’ Until Our Hearts Stop choreographed by Meg Stuart Friday, May 4 & Saturday, May 5 at 7:30 pm Tickets: $40 NYU Skirball 566 LaGuardia Place at Washington Square In UNTIL OUR HEARTS STOP, six performers and a three-piece, onstage jazz band, find themselves in an unreliable, high-octane refuge, both nightclub and an arena: a place of desire and illusion, experiencing extreme intimacy at each other’s hands. To the sound of throbbing basses, piano and drums – a mix between improvisation and composition – they connect and explore each other, drawing the audience into their immersive world. Stuart drew inspiration from people who retreat from the real world and construct their own, fantastic set of rules. The performers are forced to connect in uncomfortable, yet playful ways. Navigating between naivety and despair, they are dreamers who long for reality and seek new forms of appearance. Meg Stuart is a New Orleans-born choreographer and dancer, working and living in Berlin and Brussels. Stuart moved to New York in 1983 and was actively involved in the downtown New York dance scene for many years. Together with her company, Damaged Goods, she has created over 30 stage works, ranging from solos to large-scale choreographies, site specific creations and improvisation projects. Stuart strives to develop a new language for every piece in collaboration with artists from different creative disciplines and navigates the tension between dance and theater. Her work revolves around the idea of an uncertain body, one that is vulnerable and self-reflexive, constantly searching for new presentation contexts and territories for dance. Meg Stuart/Damaged Goods has an on-going collaboration with Kaaitheater (Brussels) and HAU Hebbel am Ufer (Berlin). Photo by: Iris Janke (Source: NYU Skriball Press Release)
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