Text does strange things on the stage. For a trained actor, a bit of Chekhov can inaugurate an entire style of performance, with certain assumptions about what's real, what kind of feeling is most powerful, how to get to that feeling. After turning away from text, towards gesture, task, state, other ways of articulating presence, we've been returning to our theatrical training to try to see what happens when a fiction is established on a stage. We've been trying to
In the studio we are researching the pathways through trauma. We are talking about suffering, grief and how and why people are motivated to move into a new state of being. One of the positive things about trauma is once we begin to climb out of it, I believe we become more open minded, more sensitive and more understanding. To support this research for the show, I've been reading a lot of books about self help, transformation and the body.
CP: Marc, in one sentence,what is your story? MS: I have a passion for contemporary dance and performance, based in Zurich, loving San Francisco and having a queer mindset! CP: What was the genesis of Zürich Moves? Where did the inspiration to create the festival come from? MS: I wanted to create a platform for boundary-crossing artistic engagement and create a network of artists, who collaborate and nurish their work even outside the given frame of zürich moves! festival. CP:
First, I have so enjoyed reading everyone's posts so far. Witches! California! Feminism! Flappers! So in my thinking about the next work I want to make, I am thinking a lot about layers, about simultaneity, and about holding conflict and opposition in one body mind. That which is 'problematic' sometimes enriches, that which is un-feminist sometimes empowers. I just came out of a short run of my cabaret show, in which I premiered a few new stories and bits, many
I am a bit lost with the blog as I have very little time to read the messages of others and when I am trying to write it all goes queer ;-) I just finished a book by a swiss writer, long time dead by now, Blaise Cendrars "Sutter's Gold"; The story of a swiss men who emigrates to the San fransisco bay area just a litlle time before the Gold Rush, makes a lot of money and looses everything
I have never met anyone before who wants to become a shittier person. Nobody has ever told me, "yea, I want to treat others worse." or "I love making myself feel badly." Here we are, all striving to be better. Maybe, like me, you feel like you make a million mistakes a day. And maybe, you understand that what matters is a) that we are able to perceive those mistakes b) that we can express when we've done wrong c)
"The supernatural is nowadays often seen as opposed to technologies, but the technologies of the era often seemed supernatural themselves. In the well-known words of science-fiction writer Arthur C. Clarke, "Any sufficiently advanced technology is indistinguishable from magic." It is only becuase nature no longer seems so strong and immutable a force that changes no longer seem uncanny. In the beginning electricity seemed spiritual, a form of the life force...The changed brougth about by technology seemed supernatural at first, and photography was
I just took out a card from Brian Eno and Peter Schmidt Oblique Strategies, it came out: Use somebody nearby as a model. Which makes me think of appropriation and Mica's proposal. Yes for that! Otherwise I like to share a training I am used to do at the beginning of the day, an one hour session of a kind of kundalini I adapted for my needs, It includes shaking, authentic movement, circular mouvement with breathing and automatic writing. I
"A riot literally tears the city apart. It is a striation...like a skater from the days before skateparks, it sketches invisible trajectories in the urban motif. A shapeless event that eludes reification, even if it relates to rituals, and thus summons the repertoire of tricks and knowledge accumulated by a provisional community bound by a transgressive dynamic." Withches: Hunted, Appropriated, Queered ed. Anna Colin, The Rioter and the Witch by Olivier Marboeuf
Hello Other (X)Changers, I have a proposal for our process. I'm usually drawn to the obvious, or blatant. I am also fascinated by impersonation, doubling and repetition (not just as a compositional tool but also as a process). I propose that our exchange be direct, meaning each of us recreates a work by another in the group. This will provide us with a solid structure and process within to work (rehearsals, learning each others work), and coupled with group conversations
As part of the pilot CounterPulse Performance and Technology Combustible — a residency model for artists collaborating with creative technologists— we hosted two work-in-progress labs last week for participating artists: Capacitor with collaborator Zach Howard, and Dohee Lee with collaborator Donald Swearingen. Dohee Lee and Donald Swearingen were first to show their work. Dohee is a dancer, vocalist, and musician who draws on the artistic forms and shamanistic rituals of her native Korea to inform her contemporary performance practice. Donald
Groundbreaking has always been a term we used to describe the artistic work of CounterPulse artists. This is still true of our artists today, however the term has taken on new meaning as we’ve prepared to renovate the dilapidated former porn theater at 80 Turk Street that will be our new home. And now, the much-anticipated moment has arrived... Our New Markets Tax Credit financing has been approved and groundbreaking has commenced! [ezcol_1half][/ezcol_1half] [ezcol_1half_end] [/ezcol_1half_end] Plans have been approved by the
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Jan. 24th, 2025 @ 8:00PMEvent Detail Button
CounterPulse
80 Turk St, San Francisco, CA 94102
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