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Invitation to BodyStories
Teresa Fellion Dance 2013 Season
FLIPPING DOMINION: AN EVENING OF TWO CONTRASTING
WORKS BY BODYSTORIES: TERESA FELLION DANCE
Flipping Dominion: An evening of two contrasting works by BodyStories: Teresa Fell ion Dance
Join us on an artistic journey through two divergent pieces, discovering the inquisitive, quirky world of The Mantises are Flipping (P.S. I’ll
have whatever they’re having) to the intricately programmed world of Control Dominion. Watch as a recalcitrant dance company continually
redefines their creative process and produces a diverse night of new repertory. Each performance will be followed by a reception sponsored
by Brooklyn Brewery.
CPR-Center for Performance Research
Dates and Times: Thursday June 27th 2013 at 7:30pm and Saturday June 29th at 7:30 pm
Tickets: General Admission: 0, Student/Artist discount: 5 (code is 7183491210361)
Purchase tickets at: http://www.brownpapertickets.com/event/389380
BodyStories: Teresa Fellion Dance will be presenting two World Premieres, after over a year of development and presentations of site specific
and in-process versions at ICA Boston, University of Maine, Ashawagh Hall, The Franco American Cultural Center Theater, Anita’s
Way-4 Times Square, John Ryan Theater, DNA, Williamsburg Art and Historical Center, Gershwin Hotel, and Jazz at Lincoln Center.
Mantises and Control Dominion are made possible in part by an NEA Window Grant via Chashama, inc.,
SummerStages Dance Choreographic Fellowship at Concord Academy and ICA Boston,
Dragon’s Egg, MANA Arts Center and Armitage Gone! Dance, Brooklyn Arts Council Community Arts Fund Grant, and
Triskelion Arts Space Subsidy Program made possible with support from The Andrew W. Mellon Foundation.
The Mantises Are Flipping (P.S. I ’ l l have whatever they’re having) investigates reactions and relationships to
sound and explores various dualities through movement. The organization of sound and movement in the work establishes a world in which
the two elements are indistinguishable. Musician/composer Ryan Edwards performs live with the dancers and the dancers contribute sounds
of varying lengths, intention, volume, and rhythmic complexity. The piece creates a voyeuristic point of observation into the idiosyncratic
worlds and relationships among eight individuals. Dancers move between private moments, small group interactions, and envelopment into a
whole, awkward landscape. Euphoria, excitement, frustration, focus, and persistence are communicated through a quirky, stylized movement
vocabulary, highly physical to vaguely indicated partnerships, vocalizations, and the juxtaposition of rhythm, harmony, and dissonance. The
work invites the viewer to contemplate the relative nature of normalcy through the comedic and imaginative atmosphere of Mantises.
Dancers in cyborg society, Control Dominion , struggle between individual will and governing control. Opposing forces of surrender
and domination reveal harrowing pitfalls of the proselytizing hive mind. Frenetic, alert movement and intricate, distorted phrases are
programmed rather than organic. Dynamic progressions become chock full of manic activity as dancers fling, throw, jerk, jump, stiffen, fall,
roll, lift, and engage sometimes beyond their capacity to control. Complex rhythmic sequences create gradations of synchronicity vs.
presumed anarchy.!Inward rotations, tensile contractions, and reverberations pierce and manipulate bodies and space. Electronic
soundscape composed by John Yannelli includes mechanical sound effects, robotic beats, and a driving pulse.
(Performed in theaters or in industrial, site-specific locations.)