Alexandra Beller Summer 2019 Intensive
JUNE 10-14, 2019
with Alexandra Beller and guests
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 a Technique/Repertory process with a rotating teacher and concluding with a master class focusing on a different performance or creation practice. Space is limited, sign up today!
SIGN UP FOR OUR 2019 SUMMER INTENSIVE:
REGISTRATION WILL OPEN JANUARY 1, 2019. PLEASE NOTE: YOU MUST SIGN UP USING THE FORM BELOW AND MAKE A $50 DEPOSIT FOR YOUR SPACE TO BE RESERVED. PLEASE REVIEW CANCELLATION POLICY BELOW BEFORE SIGNING UP.
FULL INTENSIVE SIGN UP:
OUR 2018 GUESTS:
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-11:15am.
Each day, a different choreographer teaches a three hour course: starting with a full movement technique class and followed by Repertory from their company. This year's teachers include Maria Bauman/MB Dance, Kelly Bartnik, Alexandra Beller, and more.
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), Optika Moderna (Waking La Llorona) Cora Dance (Prey, Elsewhere), 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 Advance Contemporary at Mark Morris and 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 Technique/Repertory: In approaching a technique/repertory combination, we will start from a place of accessing a heightened physical and emotional awareness for the individual in a supported environment, accessing a state of released inhibitions while harnessing our intuitions and intentions. With this groundwork laid, the repertory portion of the class will explore the degree to which our full presence can be utilized to spark genuine responses from a place of guttural physical response, focus and narrative investigation.
is a dance artist and community organizer from Jacksonville, FL. Her choreography for her company MBDance (www.mbdance.net) 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. She draws on her long studies of capoeira, improvisation, dancing in living rooms and nightclubs, as well as concert dance classes to embody interconnectedness, joy, and tenacity. Currently, she is Artist in Residence at Brooklyn Arts Exchange and just finished her tenure as 2017 Community Action in Residence at Gibney Dance Center. Bauman is creating a new interdisciplinary improvisatory work on lineage and navigation called (re)Source, and she is also dancing in Jumatatu Poe and Donte Beacham's Let 'im Move You: This is a Formation.
About Technique/Repertory: What's MBDance class like? We sweat our truths, flying into the floor safely and using our hands like feet! MBDance classes focus on broadening the dancers' physical resources while remaining true to their current range and strengths–contemporary dance emphasizing powerful, spatial fluidity and floorwork.
is the Artistic Director of Alexandra Beller/Dances, established in 2002. As a member of the Bill T. Jones/Arnie Zane Dance Company from 1995-2001, she performed in over 50 countries and throughout the U.S.. Alexandra works for theatre, film, and video, as both Movement Coach and Choreographer. She has Choreographed for Hudson Valley Shakespeare Company (“Two Gentlemen of Verona”), Bedlam Theatre (for the critically acclaimed “Sense and Sensibility”) and worked with Taylor Mac, Soomi Kim, Theatre Askew and others. Alexandra received her CMA in Laban Movement Analysis/Bartenieff Fundamentals in 2015 and also holds an MFA from University of Wisconsin at Milwaukee (2006).
is a Detroit based movement artist and educator. Her approach to form combines the multiplicity of her black identity with her training in postmodern dance. Her performances are committed to black vernacular gestures, codes, and rituals as a way of subverting traditional postmodern aesthetics.
Harge's work has been recognized by various institutions across the country in the form of choreography, performance and residency invitations, including: Detroit Institute of Arts, Museum of Contemporary Art Detroit, Pulitzer Arts Foundation, Washington National Cathedral, Atlantic Center for the Arts, Dayton Contemporary Dance Company, University of Michigan, Duke University, and Wayne State University. In 2017 she was awarded the Kresge Arts in Detroit Fellowship in Performance Art. She currently holds lecturer appointments at Oakland University and University of Michigan.
About Technique/Repertory: Jennifer Harge’s technique class and repertory process will utilize a series of improvisational structures to amplify and disrupt students movement impulses.
is a Lester Horton Award-winning dancer–choreographer and musician, a music lecturer and the director of the African music ensemble for Princeton University’s Department of Music. Tarpaga is the founder and artistic director of the internationally acclaimed Dafra Drum and Dafra Kura Band and co-founder of the Baker & Tarpaga Dance Project. He danced with David Rousseve/ REALITY from 2006 to 2010. Commissions include: Wind of Nomads (2017) for Malaysia’s internationally renowned HANDS percussion; RESIST, RESURGE: Traces of Hope (2015) for MAYA dance theater of Singapore; The way of sands (2012) for the Temple of Fine Arts in Perth, Austrailia, Visage for Zig Zag Ballet at the Rich Forum Stanford Center for the Arts in Connecticut (2008).
Tarpaga is a recipient of numerous major grants including NEFA’s National Dance Project (NDP) award, the Suitcase Fund from New York Live Arts, a Chime Mentorship Fellowship, the Durfee Foundation ARC, and grants from the Ohio Arts Council and the Flourish Foundation.
Tarpaga has performed and taught dance and music in fifty countries throughout Africa, Europe, the Americas, Asia, and Oceania.
About Technique/Repertory: This is an intensive hybrid contemporary dance theatre workshop with live music inspired by Tarpaga’s latest work.
Each day concludes with a master class focused on a different performance practice or way of creating. Instructors include Deborah Black (The Viewpoints), Todd Coulter, Alexandra Beller (Movement Choir, Dramaturgy, and Space Harmony).
Laban Space Harmony with Alexandra Beller
About Laban Space Harmony: In this class, we will break down Dimensions, Planes, and Diagonals, deconstructing and reconstructing spatial points in a effort to discover the narrative potential of our kinesphere. A physical class for dancers of all levels, and movers of all forms.
My approach to LMA and BF is to use them as a set of filters through which to see ourselves more clearly by breaking down and rebuilding our definitions about Body, Effort, Shape and Space. After 30 years as a dancer (15 also as choreographer), I have a lot of ideas about both embodiment and creative practice. None of those have gone out the window. I enjoy unpacking those ideas and using LMA and BF in order to re-assess and challenge them before rebuilding them. I believe that empathy is just as important as analysis, that not knowing is more important than knowing. I somehow manage to find cohesion between these two beliefs and the rigorous interrogation of movement that is available through the systems of LMA and BF.
The Viewpoints with Deborah Black
About the Six Viewpoints: In this class, we will tune into the body and mind to develop a heightened presence to gravity, balance, tension, and release in movement. Using this awakened body, we will move into a improvisations with the individual Viewpoints (space, time, movement, shape, story, emotion) and their dialogue with one another. The theory of postmodernism will be discussed and embodied to see how it creates a dialogue across differences, a toppling and re-building of hierarchies, and a new definition of collaboration.
Deborah Black is a multi-disciplined embodied artist and teacher. She has trained with both Mary Overlie and SITI Company. From 2013-2016 she was based in Europe teaching The Viewpoints at the Fontys Hogeschool voor de Kunsten in Tilburg (NL) as well as workshops in Holland, France, Germany, Belgium, and the UK. While previously living in NYC for nearly 15 years and working with Deborah Hay, Siobhán Cronin, Joe Williams, and the SITI Company, she began her current research of collective and individual daily practices, conflict management, the space between dance and theatre, and ecology. She has a BFA in dance from NYU's Tisch School of the Arts.
Breaking the Canon 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 has played cello in the Queer Urban Orchestra and Orchestra Amadeus. You may have seen him at Gibney or in Alexandra’s classes from time to time.
In our time together we will look at both traditional ways to create character in so-called canonical texts only to break those rules to explore different approaches to text, gender, and performance.