Events are listed in chronological order. For historical interest, see also the list of past events.
John Faichney is returning to Leviathan Studio for the 7th time to lead this 12day workshop. John will be leading us through the skills that support good dancing. The classes are for people wishing to study dance. As a participant you value your time in class by arriving early to warm up and remain in the class till it ends. Go to the website for more details.
$1000Canadian includes tuition, all meals and snacks, camping/dormitory and transportation to and from the studio from the ferry.
KATIE DUCK : IMPROVISATION
Workshop in Performance Research and improvisational Compositions
DATE: June 10+11, 2017
VENUE: EDEN Studios – part of Dock11 Berlin –
COST: Earlybird 110€ (money transfer until April 30, 2017), thereafter 135€
REGISTRATION: For registration details and workshop questions please contact me by e-mail at email@example.com
EVENT WEBSITE: http://contact-improvisation.net/2017/02/22/improvisation-ws-by-katie-duck-june-10-11-2017/
June 10+11, 2017
Saturday: 10-13h + 15-18h
Sunday: 10-13h + 15-18h
Katie Duck has been investigating theater, dance and music with live performance for over 30 years. In her workshop, she takes a microscopic view on the role improvisation plays in a live performance combining her background in the performing arts with her curiosity for advances in brain studies, music and movement research.
WHO COULD ATTEND?
Katie can accept students from all performance art backgrounds and professional levels. Her only concern is that anyone who studies in her workshop have a deep interest in the work and is willing to experiment and take risks with the material she offers.
WHAT YOU LEARN?
Improvisational performance breaks the framework of preset choreography and challenges the artist to be the creator/composer/choreographer and the performer at the same time; to be the doer and the observer simultaneously. It is about learning ‘The Eye’: of the space, of the watcher and essentially the eye of work being created.
The workshop is oriented towards building skills of performance presence, timing, tracking and conviction of choice/action. It focuses on developing skills to interpret dynamic space and creating one’s own performance frame. While Katie aims to explore novel and rigorous approaches to body work. The main focus lies in reaching a state of surprising oneself. The workshop will be structured into body work, activity-based sessions, performances and a jam.
Her warm-up and exercises emphasis how the eyes and the ears work in coordination with movement, sound and exposure to gathered crowds altering our perception of time, space, feelings and emotions. Improvisation sessions revolve around the terms pause, flow, exit, choice and presence with discussions articulating play, memory and intuition.
Katie guides the dancers and performers through physical exercises that highlight how the eyes and ears affect movement choices and developmental brain studies about “how we learned to walk”. She extends the workshop toward improvisation sessions by setting a fictional front in the studio space and then declaring this as a platform to choose pause, flow or exit. This platform highlights how the limit of these three choices can already provide the frame for a composition to take place, and that misunderstanding, coincidence, live time, interactivity, messiness, emotions, intuition and inspiration are basic materials in a creative process. These raw materials are integrated with the combined fact that everyone in the workshop group can make a choice.
Choice is introduced to the workshop group as a compositional reality but also as a means for individuals to elect to participate in the performative or as a viewer and yet remain involved in the process. The aim is to gather the workshop group to recognize that in a creative composition process, time is passing at different perceived speeds and that space is shifting in several dimensions at once. This awareness creates a presence in the space and a compositional alertness.
Her aim is to provide a situation where artists can practice together and grow in confidence toward public performances with an objective to clarify that improvisation not the antitheses of choreography or composition but rather the way choreography and composition can be executed.
The improvisation sessions are given a delegated time frame with an option for the workshop group to shift, drop or lift the space at will. This shifting, dropping and lifting of the performance space places each individual in a position where they need to be to be fully awake or they will recognisably loose the thread of the creative compositional activity in play.
HOW KATIE TEACHS?
Katie has been teaching since she began to perform professionally in the mid 70’s. She is dedicated to how process and research play a major role in how one can continue to be artistic in how they approach their life and their work.
Over the past 10 years her workshops have been titled “Improvisation” in order to emphasis her views on theater as a live art form reflective of how she executes her own professional performances. Her research is placed in practice with lectures containing her recent interest in brain studies and film.
She integrates her current research making each workshop completely unique. She draws from her experiences in live performances, music collaborations, as a director and choreographer.
Her enthusiasm for a young artists to be able to continue their practice, in a very different atmosphere than when she began her work, is evident in how she has continued to up grade her life style with new technologies, continued to do research in the sciences, the performance arts and music. She has created several projects with an aim to support a young artists rather than her own career. She continues to take risks with her own career in the support of young artists giving them the possibility to experiment within their own practice.
She promotes to her students that the mental connection to the practice of improvisation can be accessed weather they are doing set or open framed performance pieces and that the definitions of what improvisation within art practices mean today need to be reflective to advances in brain-studies and technology.
In the way she communicates with students, one is aware of how she understands that the professional field of the arts has altered drastically in comparison to when she began her practice in the mid 70’s. As part of her teaching, she encourages young artists to devise strategies that allow for them to sustain the production of their work with creativity and research involved and yet survive.
Katie has had the possibility to create material for her workshops out of a wide range of practice in the performance arts. She has never formulated her teaching material into a frozen body of knowledge. She does not believe that the accumulation of knowledge is how one becomes a teacher. She believes that It is out of her practice and the practice she witnesses with a student that all knowledge becomes clarified in the lessons she leading.
QUOTES KATIE DUCK:
“The combination of moving, seeing, hearing, feeling and deliberately volunteering to expose myself in front of an audience alters my perception of time, space and emotions. What I do for a living is an induced neuron madness”
“I am not interested in the moment even though it does feel good. I am interested in movement and the fact that time is passing. It is a kind of hippie hype to encourage someone to be in the moment.”
“A fully awake body is rarely pedestrian. The body awake needs to be discovered and demands a discipline beyond everyday tasks. And yet when I see movement that does not respect the beauty of the body as pedestrian I become uncomfortable. How the body works and how I see a body is not so different an activity in how I feel. To not respect the body as an already perfect place of motion is like watching a dog trying to learn ballet.”
Cage make a movie
(Solo Katie / Music Mix Katie Duck)
Duck and Snaith (girls at work)
(Yolanda Snaith and Katie Duck / music mix Katie Duck)
Recent improvisation (OT301 Amsterdam / live musicians)
Katie Duck & Alfredo Genovesi at SDSU – closing talk
DR Sharon Smith essay about working with Katie Duck
BIO KATIE DUCK:
Katie Duck has been a professional performer and maker since the early 1970’s. She has been a influential figure in the improvisational performance scene internationally, inspiring generations of performers, musicians and performance makers. She set up the acclaimed Gruppo in Italy in 1979 and toured Europe with a host of productions. She was head of choreography at Dartington College of arts (senior lecturer) in the late 1980’s. She joined the staff at Amsterdam Hogeschool voor de kunsten in 1991 teaching movement research, improvisation, composition and technique and founded the improvisational dance and music company Magpie in the 1990’s with whom she toured internationally. She has collaborated with renowned dance and improvisation music artists form all over the world. Katie’s career has included independent teaching, university teaching, set choreography’s, structured improvisations, music and dance real time performances and live streaming international performances. Her collaborations have been with musicians, visual artists, lighting designers, dancers, actors and comedians. She has initiated education courses and workshops, festivals and monthly performance series in her three bases Italy, England and Holland. She has led dance companies, dance/music companies, advises young artists and has written text for her performances as well as critical articles. Katie has a determination to continue her research in theatre, music, dance, text and performance. Alongside her vocational studies, her research has led her toward social studies, cultural studies and brain studies. She believes that her research must not be validated by way of academic speak alone but rather on her insistence to hear, see and take part in the practice.
More at Katies Website: http://katieduck.com/about-katie-duck/bio/
Breite Strasse 43
13187 Berlin (Pankow)
…scroll down to "STUDIO 190.EG,“ in Haus 2
Tram-Station „Pankow-Kirche“: M1, M50
U & S-Bahn Pankow: U2, M27, S2, S8, RE3, RE5
Bus: 107, 155, 250, 255, X54, N50, N2
The friendly small-scale international festival is once again host to contact improvisers from around the region and beyond*. From June 13-19, 2017, participants will get a chance to study intensively daily with experienced teachers from various countries. There will also be jams, labs and participants get to live on-site at the venue, which is the beautiful Rimbun Dahan, a residential arts center situated not far from the city.
Tung I-Fen (Taiwan)
Svitlana Pashko (Ukraine)
Andrew Wass (US/Germany)
Eng Kai Er (Singapore)
There will also be a pre-festival workshop facilitated by Andrew Wass that will take place June 9-12, 2017.
*Past festivals were attended by participants from countries such as Malaysia, Singapore, Thailand, Hong Kong, Taiwan, Japan, South Korea, Australia, Finland, Germany, Italy, Spain, Switzerland, Russia, Canada and the United States.
Registrations by April 8:
Registrations after April 8:
>> performative side of CI | for professionals
>> body experiments | for passionate movers
Intensives with: Adrian Russi, Susanne Martin, Stephen Batts, Alexandra Soshnicova & Sergey Golovnea
Guest teachers: Elisa Ghion, Alon Klein & Stan Potoku
Find all about our program, teachers and classes on our site!
Registration is open! Early Bird tickets available until 15th of April
Be present !
Grow as a performer and/or perform a more authentic you ;)
Event organised by the group of artists Petec de Cultura in partnership with National Center of Dance
180 euros until 15th of April
210 euros after 15th of April
(fee does not include food and accommodation)
- we can suggest nice and cheap hostels close to the studio
from Friday 5 p.m. till Sunday 3 p.m. we will dance in the wonderful hall (380 m²)of house 41.
Preworkshop: 21st to 23rd June 2017
We are very happy to invite Enikő Szilágyi for a SOMATIC PRE WS
We are so happy to announce this year’s contact jam in Innsbruck/Austria to which all you dancers near and far are warmly welcome. We are going to dance in the wonderful 370m² dance hall in the arts and culture center “Vier und Einzig” (Hallerstraße 41). From Friday to Sunday, we are going to enjoy dance, improvised live music (Stefan Gineiger) and we are looking forward to heartwarming encounters and joyful moments while eating, talking, laughing and witnessing. This will be the first year we offer an intensive class Workshop directly before the three days international contact jam. All informations (teacher, subject of teaching, time scale…) for the preworkshop you can find on the next flyer and on www.contactjam.at.
Fee for the whole Jam 105 to 120 € (sliding scale – pay as you can). This includes food („simple and good“, because Elisabeth is cooking for us). Please transfer money until May 16th. Early bird registration 95 € if transfered before May 16th 2016.
Fee for the Workshop see at www.contactjam.at
wcciJAM 2017 is a Contact Improvisation festival that takes place at UC Berkeley (Bancroft Studio and Hearst Women’s Gymnasium), 10AM–midnight (July 4 until 12:30PM). wcciJAM features open jamming and peer exchange; 5-day intensives with Ishmael Houston-Jones and Shel Wagner Rasch; daily family and fundamentals classes with Rossana Alves and Krista DeNio; and single classes with Carol Swann, Daniel Bear Davis, Ezra LeBank, Jordan Fuchs, Jordan Stout, Katherine Cook, Mary Pearson, Megan Lowe, Neige Christenson, Nina Wehnhert, Nuria Bowart, Rajendra Serber, Rosemary Hannon, and Vitali Kononov.
Early registration discount: June 1st
Drop-in options available
firstname.lastname@example.org | http://wccijam.org
sliding scale. see web site