Summer Shake-Up at Triskelion Arts - August 26th
Wednesday, August 26, 2015 at 7:30pm
at Triskelion Arts’ Muriel Schulman Theater
106 Calyer Street, Brooklyn, NY 11222 (Enter on Banker Street)
Triskelion Arts is thrilled to offer the third installment of our annual summer series, the Summer Shake-Up, in the Muriel Schulman Theater on August 26th, featuring a slew of terrific artists with wide-ranging aesthetics, including: Chris Ferris & Dancers, Lindsay Head, Katy Orthwein Dance Projects, Kailey McCrudden, AJ Sharp, Erica Lessner, Meat & Co., and Juan Michael Porter II.
More Info: www.triskelionarts.org
ABOUT THE ARTISTS
Chris Ferris & Dancers’ newest trio Torrential Dance Fall travels from the awkward to the sublime. Energy is ratcheted up with bodily vibrations as dancers impulsively overextend themselves. Self-comforting dance material is infused, creating support of self and others. The piece escalates to a round, weighty harmonic flow of spatial consumption. What is compassionate in tone swirls to the end of continuum.
Lindsay Head, founder of l head and other people, premieres her second iteration of the operative is torments, not tyrant, as a comedic interrogation with nationalism, ritual, and the Olympics. the operative... was originally created as a comment on “modern dance,” and as a personal exercise to create a dance in one hour. Lindsay is an Earth-based choreographer who began choreographing on her driveway.
Katy Orthwein Dance Projects performs Vanishing Point, a solo dance work exploring perspective in terms of intimacy and distance through the use of space, time and movement choices. With a unique vocabulary ranging from gestural specificity, nuance and delicacy to full, embodied movement, Vanishing Point features an original score by Cynthia Hopkins.
Making its New York City premiere, gray area, choreographed by Kailey McCrudden, explores that which exists between the extreme black and white binaries created within society. This powerful trio explores gender as a performance of masculinity and femininity, two extremes on either end of a fluid spectrum. Use of gendered movements out of context showcases the arbitrary nature of the labels which society has created. It is a performance of the performance of gender.
Inspired by a few too many nights spent alone in her pajamas, wearing lipstick with a six-pack by her side, and an imaginary audience to entertain (that so often ended with smeared lipstick and beer soaked pajamas,) AJ Sharp’s Perfect. Well, not entirely perfect, uses humor to cope with loneliness. From gestural and stationary to erratic and unpredictable, the movement offers a variety of reactions to what is real and what is not.
Erica Lessner’s Affect explores self-perception; how do we think others perceive us and how, in turn, does that affect the way we present ourselves? The cast was prompted to create movement based in honesty. Together, they asked and answered difficult questions about the way they viewed themselves and used those as impetus for movement invention and interaction with one another.
If a dance is made without motive, does it contain a message? TOMATOTOMATO, a Meat & Co. original work choreographed by Rachel Slaughter, explores the links between movement-making and meaning-making. The company asks: Does a movement mean what the maker says it means, or does it mean what the viewer says it means?
Juan Michael Porter II presents back when we were awesome, a work attempting to reclaim that “fresh feeling” from back before everything changed, or went wrong, or went right.
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