Installation, Performance, Demonstration. A brief presentation in space, time, movement, song, word of the voices of the moment: theoretical, polemical, personal, musings and proclamations. Asks the question, “where are we now?” Proclaims in response an embodied articulation of “where we are now!” Caution: could be political, spiritual, beautiful, ordinary, thoughtful, challenging, heartfelt.
Wednesday, April 1
Thursday, April 2
Friday, April 3
Saturday, April 4
Sunday, April 5
Advance tickets will be available for purchase via a link posted on this webpage. The link will be posted on Friday, March 27, 2020.
A sequel to an earlier version, SLICE 1.0, this project is conceived as a practice of framing personal reflections and responses to the external circumstances (political, social, environmental) we, as creators and performers, find ourselves in at the present moment. We are offering these framed points of view as a “play”, and we are placing the play—the sequencing of our material--within the larger frame of space and time composition. The piece is visual, aural (like good free jazz), kinesthetic, and textual/literary. We are utilizing a variety of techniques for building ensemble, generating original material (images, text, movement) and creating stage. Mary Overlie’s Six-Viewpoints work is the primary ensemble building and composing technique and the work is influenced by Boal, Presencing Theater, Moises Kaufmann’s Moment Work Technique and it’s relationship to both self-scripted and found text, psychophysical acting and post-modern dance. We will build ensemble and stage through the Viewpoints—which means we will use an open play space/an open movement space. We will also work internally with the Viewpoints language as a performance/acting technique. As much as possible we will use space, time and our bodies, our body parts, the bodies of others and their body parts as props, set/environment.
Directed by Wendell Beavers
Wendell Beaversisa choreographer/director, performer, and educator; the co-founder and early Director of Movement Research in New York; and founding chair of Naropa University's MFA Theatre: Contemporary Performance Program 2004-17. He was a founding faculty member and Director (1984-1990) of The Experimental Theatre Wing (ETW) at NYU teaching there from 1979-2003 where he was involved in applying the Viewpoints in collaboration with originator Mary Overlie. His work has been seen in New York at Dance Theater Workshop (now NY LIVE ARTS) and PS 122. Also at MR at Judson Church, Danspace Project, Dixon Place/Vineyard Theatre and as part of many loft space projects. He also has taught extensively in the American Dance Festival’s Six-Week School and in numerous university venues in the US and in Europe. He currently teaches, directs and performs under the auspices of his company SomaticPerformer. He is Emeritus Professor of Performance at Naropa University, visiting faculty at ETW/NYU, and in the Collaborative Arts BFA, Tisch School of the Arts. He has studied extensively with Bonnie Bainbridge Cohen, developer of Body Mind Centering®, creating Developmental Technique™ based on her work. Recent Guest Artist Residencies include Ohio University, SITI CO. Saratoga and NY Intensives, Nine Years Theater/Singapore, University of Colorado, Rose Bruford University(London) Toneelschool(Maastricht, Netherlands), Vertico(Madrid), and Concordia University(Montreal).