Summer 2017 intensive

2017 ABD summer intensive postcard2.jpg

with Alexandra Beller and guests

June 12-16, 2017
Monday-Friday 10am-4pm
at Gelsey Kirkland Studios
29 Jay Street, Brooklyn, NY
$400

Get a taste of a different ways of moving, performing and making in a week with Alexandra Beller and guests. Each day starts with a one hour Somatics class with Alexandra Beller, followed by Performance Techniques with a rotating teacher and concluding with a substantial technique/repertory class with a different NY choreographer. 2017 faculty includes Maria Bauman/MBDance, Dan Safer/Witness Relocation, Todd Coulter, Danté Brown/Warehouse Dance, Adam Barruch/Anatomiae Occultii, Daniel Giel, Donnie Mather, and Kelly Bartnik!

About our classes:

SOMATICS WITH ALEXANDRA:

Using principles of Bartenieff Fundamentals, the class focuses on improving body mechanics, increasing efficient movement patterns, and conditioning the body to choose the most organic functional pathway for any given movement situation. Daily start to further practices. Monday-Friday 10am-11am.

PERFORMANCE PRACTICES:

MONDAY: ACROBATICS FOR DANCERS with Daniel Giel
TUESDAY: THE VIEWPOINTS with Donnie Mather

DONNIE MATHER is the founding artist of The Adaptations Project which creates original hybrid forms of theatre. Mather has over 20 years experience with Suzuki and Viewpoints, training with Mary Overlie, Tina Landau and with Anne Bogart & SITI Company where he was an Associate Artist for 7 years. He’s performed with SITI Company (THE EVENT OF A THREAD, MACBETH, SEVEN DEADLY SINS, LILITH) and at The Shakespeare Theatre of New Jersey (ANTONY & CLEOPATRA, THE MERCHANT OF VENICE). He has worked on three New York Premieres of Charles Mee (FETES DE LA NUIT, TROJAN WOMEN A LOVE STORY, SOOT & SPIT upcoming) as well as directing & choreographing  BOBRAUSCHENBERGAMERICA (Hope College). His movement work includes collaborations with ATLANTIC THEATER COMPANY, WEILDWORKS, & OUR VOICES. He has also performed at Lincoln Center, Park Avenue Armory, NYC Opera, Los Angeles Opera, and numerous downtown venues. His original work includes A SHOW OF FORCE which traveled to the Manizales Theatre Festival in Colombia. He created and performed KADDISH (OR THE KEY IN THE WINDOW) based on the poem by Allen Ginsberg directed by Kim Weild. For almost 20 years, Mather has led workshops in physical approaches to actor training and Devised Theatre in many programs throughout the U.S., most recently at Harvard University’s Institute for Advanced Theatre Training as well as in Brazil, Chile, Colombia, Germany, Mexico, Puerto Rico, & Turkey. He is currently on faculty at the Atlantic Theatre Acting School and the New York Conservatory of Dramatic Art. www.AdaptationsProject.org

ABOUT THE VIEWPOINTS: First articulated by Mary Overlie and expanded by Anne Bogart & SITI Company, the Viewpoints is both a practice of physical improvisation as well as a philosophy of composition for the stage. By addressing the basic tools of Time and Space, the Viewpoints seeks to address the boundaries and possibilities of music, movement, voice, theatre, and dance. In this accelerated class, we will introduce each one of the Physical Viewpoints thru a variety of structured exercises leading to more open improvisation. At the end, we will look at and discuss how this philosophy might apply to creation of movement, staging, and music. 


WEDNESDAY: CREATIVE PRACTICES with Alexandra Beller
THURSDAY: PARTNERING with Kelly Bartnik

photo by maria baranova

KELLY BARTNIK is a NY-based choreographer, performer, teacher and producer.  She is an original cast member of the Boston and NY productions of Sleep No More, originating the role of Bald Witch.  She has also performed with Witness Relocation (The Loon), Cora Dance (PreyElsewhere), Melissa Briggs Dance, South Brooklyn Shakespeare (Midsummer Nights Dream – Puck), Woodshed Collective, Carl Hancock Rux, William Pope L., Switch N Play, and Shelter Theatre Group (Macbeth). Her own work has been presented at Brooklyn Arts Exchange/BAX, BRIC Studio, DTW (formerly), Dixon Place, Joyce Soho, James Madison University, Long Island University, Dogtown Dance Theater, and Arena Stage.  Kelly has been a guest professor at Sarah Lawrence College, co-director of BAXCo and is currently teaching Advanced Movement for NYU’s Playwright’s Horizons Theater School.   She is also in the process of mounting and directing a new long-term immersive series entitled HERE.  KELLYBARTNIK.COM +  HERENY.COM

About Partnering: In approaching the practice of partnering, I first explore the development of accessing openness and awareness for the individual. In committing ourselves to being fully present in our bodies and minds, we can then embody a means of releasing inhibitions while meeting and conversing with others through movement.   This class will start with guided self-exploration in order to channel our focus and harness our intuitions and intentions.   With this groundwork laid, we can then explore the degree to which our presence can be utilized to spark genuine responses to and with others through the quality of touch, focus and narrative investigation.   Through listening and responding from a place of clarity, we explore and examine the reflective nature of listening and working in conversation with others. 

FRIDAY: VOICE with Todd Coulter

TODD COULTER has been teaching acting and directing for over a decade and has developed and performed in hybrid works that live somewhere between the camps of theater and dance. He is a member of the Lincoln Center Directors Lab and his productions have earned regional awards from the Kennedy Center American College Theater Festival. He has taught in the Northeast at Colby and Wesleyan and has been a guest artist at Princeton. He also plays cello in the Queer Urban Orchestra. You may have seen him at Gibney or in Alexandra’s classes from time to time. 

ABOUT VOICE: In our time together we will make noise together: in harmony, in dissonance but in community. We will explore some basic anatomy of vocal production to help build a healthy foundation for vocal work. Working with text, music, and movement we will bring more awareness to our voice as a full bodied experience rather than a neck up phenomenon.

 

TECHNIQUE/REPERTORY:

MONDAY: WITH MARIA BAUMAN/MBDANCE

MBDANCE: "WHEN THE DIRT GIVES", PHOTO BY KEARRA AMAYA

MBDANCE: "WHEN THE DIRT GIVES", PHOTO BY KEARRA AMAYA

MARIA BAUMAN, PHOTO BY TANYA WILLIAMS

MARIA BAUMAN, PHOTO BY TANYA WILLIAMS


Maria Bauman is a dance artist and community organizer. Her choreography for MBDance is based on her sense of physical and emotional power, desire for equity, and fascination with intimacy. Bauman brings the same tenets to organizing to undo racism in the arts and beyond with ACRE (Artists Co-creating Real Equity), the grassroots organizing body she co-founded with Sarita Covington and Nathan Trice. In particular, Bauman's dance work centers the non-linear and linear stories and bodies of queer people of color onstage. 


In New York, Bauman’s work has been showcased at Dixon Place, BRICstudios, and DTW (now NY Live Arts), Harlem Stage, 92nd Street Y Harkness Dance Center, the Kumble Theater, the Bronx Academy of Arts and Dance (BAAD!), WOW Café Theater, and SummerStage NYC. In addition, Bauman and MBDance have shared work across the U.S. and in Singapore. She has been honored by GO! Magazine as a “Woman at the Helm.” Described in The New York Times as “texturally rich in its gestural language, and beautifully performed…,” her work is at the same time a poem, a manifesto, a softening, and a beckon. Currently, Bauman is creating a new quartet entitled dying and dying and dying, a performance-ritual supposing death as the opposite of capitalism and searching for rest's rightful place in our lives. In addition, she recently danced in Danspace's 2016 Platform, the skeleton architecture, or the future of our worlds, curated by Eva Yaa Asantewaa in partnership with Ishmael Houston-Jones and Will Rawls. 

Bauman is currently the 2017 Artist in Residence at Gibney Dance Center (NY), and she recently received the Beth Silverman-Yam Social Action Award. Among other honors, she has also received 2015 and 2014 CUNY Dance Initiative Residency Awards, 2012-13 and 2009-10 Harlem Stage Fund for New Work via The Jerome Foundation, and a 2010-11 Dance Theater Workshop Studio Series. Several years ago, Bauman was recognized by the New York Foundation for the Arts as an Emerging Leader in the Arts.

She has danced with Urban Bush Women, Nia Love/Blacksmith’s Daughter, Adele Myers and Dancers, Angela’s Pulse/Paloma McGregor, Mendi + Keith Obadike, and jill sigman/thinkdance, and apprenticed with Bill T. Jones/Arnie Zane Dance Company. She was with Urban Bush Women for eight seasons, originating several roles, and serving as Associate Artistic Director of that company.

As a cultural organizer, Bauman has partnered with various kinds of groups to lift up important social issues and calls for justice via art. She has facilitated community engagement workshops for Chorus America, Ramapo College, Rider University, and has helped create cultural campaigns with various locals of the Service Employees International Union (SEIU). She works closely with the People’s Institute for Survival and Beyond on Understanding and Undoing Racism workshops for arts communities, and is a WOW Café Theatre collective member (theater space by and for women and transgender artists). Bauman is a founding member of the Naturally Occurring Cultural Districts Working Group (NOCD-NY). Currently, she is co-facilitating  651 ARTS's Home in the Time of Brooklyn, a six-month iterative convening of Black Brooklyn-based artists investigating how to create and strengthen artistic homes, with Okwui Okpokwasili. vimeo.com/mbdance

ABOUT MARIA'S REPERTORY SESSION: For this repertory session, the dancers will learn a portion of dying and dying and dying. dying and dying and dying is a new quartet created by Maria Bauman, artistic director of MBDance. The piece is a meditation on various kinds of endings. The artists investigate the nature of interruption, what it means and what it takes to stop, how our rituals can be both spontaneously created and full of meaning at the same time, and what role surrender has in all of this. 

Storied bodies, mythological bodies, bodies-in-creation, and bodies as manifestos…these are from whence we will dance. Together, we will invite muscles, beads of sweat, and exertion as well as surrender and softness to help us dance the way we want to--with full passion and body-mind-spirit alignment. The repertory exploration includes singing and vocalizing as well as danced improvisation and some set material. 

Adam.jpg

TUESDAY: WITH ADAM BARRUCH/Anatomiae Occultii

Adam Barruch began his career as a young actor, performing professionally on Broadway and in film and television, working with prominent figures such as Tony Bennett, Jerry Herman and Susan Stroman. He later received dance training at LaGuardia High School for Music & Art and Performing Arts. After three years, he graduated early and was accepted into the dance department at The Juilliard School. As a dancer he has performed the works of Jiri Kylian, Ohad Naharin, Susan Marshall, Jose Limon, Daniele Dèsnoyers, and was a dancer with Sylvain Émard Danse in Montreal. He has also worked with The Margie Gillis Dance Foundation, performing and researching Conflict Transformation as part of The Legacy Project. Based in Brooklyn, Adam currently creates and performs work under the epithet of his own company, Anatomiae Occultii. 

As a choreographer, Adam’s work has been presented at venues such as The Joyce Theater, Dance Theater Workshop, City Center, NYU/ Skirball Center for the Performing Arts, The Juilliard School, The Baryshnikov Arts Center, Ailey-Citigroup Theater, The 92Y: Buttenweiser Hall, Jacob’s Pillow: Inside/Out, LaMaMa,The Cedar Lake Theater, Gina Gibney Dance Center, The Harris Theater, The Museum of Contemporary Art Chicago, The Cowles Center, The Yard on Martha’s Vineyard, Bates Dance Festival and Theatre Usine C in Montreal. He has also taught technique and repertory at Princeton University, The Boston Conservatory, The Ailey/Fordham B.F.A. Program, Marymount Manhattan College, The Martha Graham School, The Hartt School, The Conservatory of Dance at Purchase College, New York University, West Virginia University and La Escuela Profesional de Danza de Mazatlán (EPDM).

Adam Barruch was selected as a participant in the 2011 Alvin Ailey Dance Foundation New Directions Choreography Lab made possible by generous support from the Ford Foundation. Adam Barruch’s short-film collaboration with filmmaker Nel Shelby, Folie a Deux, was screened at the Dance On Camera Festival in Lincoln Center in 2012. In June 2013, Adam performed a full-length evening solo work, My Name is Adam, at Joe's Pub commissioned by DanceNOW NYC, and was a recipient of a Late Stage Production Stipend from the Mertz Gilmore Foundation. In addition, he has also created works for companies such as Ailey II, Keigwin + Company, Ririe-Woodbury Dance Company, River North Dance Chicago, BalletX, GroundWorks Dance Theater and Minnesota Dance Theatre, as well as for dance icons Margie Gillis and Miki Orihara. Adam has also choreographed two music videos for Tokyo based musical act mishmash*.

Adam was the recipient of a 2014 Lotos Foundation Prize in the Arts and Sciences, which recognizes institutions and individuals for distinguished accomplishments and exceptional talent in the arts and sciences. In September 2015, Adam Barruch was the choreographer-in-residence at the Lobero Theater in Santa Barbara, California as part of the 2015 DANCEworks Residency. Adam Barruch is an artist-in-residence at the 92Y in 2016-2017. He is currently working on a new physical theater production of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street. http://anatomiaeoccultii.com

ABOUT ADAM'S REPERTORY SESSION: The class will begin with dynamic flooring sequences; warming and opening the body while encouraging a sequential, joint-articulated physicality. In utilizing the floor, the dancers will explore the momentum of skeletal initiations, and an efficient muscularity of the body. An investigation of how the anatomy can either inhibit or encourage the continuity of movement will be emphasized. The initial phrases will build to seamlessly bring the dancers into standing movements that aim to stabilize and continue the body's connection with the ground. Following will be the investigation of set choreographic material, as well as improvisational tools for the creation  of new material.

WEDNESDAY: WITH DANTÉ BROWN/WAREHOUSE DANCE: warehousedance.org
THURSDAY: WITH DAN SAFER/WITNESS RELOCATION: 
witnessrelocation.org
FRIDAY: WITH ALEXANDRA BELLER/DANCES

 

 

 

 

Summer intensive does fill up quickly, so we encourage signing up early to ensure a space!

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Please note: you must fill out the form AND make a $100 deposit to secure your spot in Summer Intensive

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By signing below, the signer agrees to the following: “In consideration of the services provided by Alexandra Beller/Dances (in future referred to as AB/D) and all persons or entities acting in any capacity on AB/D’s behalf, I agree to hold harmless AB/D on behalf of myself and all those I represent as follows: 1) I understand that dance and movement classes are physical activities and involve some risk. I understand that such risks cannot be eliminated entirely without jeopardizing the essential qualities of the activity itself. I agree to hold AB/D harmless from any and all claims, demands, or causes of action, which are in any way connected with participation in this activity. 2) I understand that though I may have notified a teacher, staff member, or other AB/D representative of a pre-existing condition (injury, allergy, etc.) that AB/D and all those working on behalf of AB/D. Should an injury or illness occur or worsen while participating in activities with AB/D, I agree to bear the costs for treatment.” “I give Alexandra Beller/Dances permission to record video and take photographs of myself and I understand that these recordings and images may be used in promotional materials (website, brochures, fliers, etc) related to activities taking place with AB/D. I agree that if any portion of this agreement is found to be void or unenforceable, the remaining portions shall remain in full force and effect. I have had sufficient opportunity to read this form. I understand it and I agree to be bound by its terms.
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past summer intensive teacher andre m zachery by Rachel Neville

past summer intensive teacher andre m zachery by Rachel Neville

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