For Immediate Release

What Is Dance?

Spring Line-Up For Dance Theater Workshop Features 22 Premieres By 22 Companies And Artists, January 11–May 15, 2006

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How different can you be––and still be working within the same art form?  That may describe Dance Theater Workshop’s spring line-up in a nutshell, where imagination courses full speed and lights blaze, challenging conventional thinking and even unconventional notions of dance.  Hip-hop inspired, text-driven, music-driven, media-driven, theater-based dance––each plays against each other in new dances by artists ranging from Rokafella & Kwikstep to Yvonne Rainer to Reggie Wilson to Tere O’Connor, not to mention Meg Stuart and Alexandra Beller.

“One of the great joys of DTW is knowing that I will always be surprised by what I see on stage,” said Marion Koltun Dienstag, Executive Director of Dance Theater Workshop.  “Our programs are rich with individuality.  Together the artists present a range of what is possible in dance as an art form.  Our spring offering exemplifies this.”

“As Artistic Director of Dance Theater Workshop, I try to have our stage reflect the vibrant creativity of the field,” said Cathy Edwards.  “Choosing from all the talent that is out there can be difficult, but it is also profoundly inspiring to have so many possibilities.”

Performance Dates and Times

FULL CIRCLE, JANUARY 11–14: Full Circle, the break-dance/Hip-Hop troupe, created by the New York husband-and-wife team Gabriel Dionisio and Anita Garcia (a.k.a. Kwikstep and Rokafella), makes its DTW debut with “Innaviews,” a duet, which they wrote and choreographed.  They are also the performers.  Through blazing rhythms, surprising flips and witty spins, the pair’s work-in-progress takes a somewhat autobiographical look at their street, stage and cinematic lives as Hip-Hop artists.  Benji Reid is the dramaturge and Gamal Chasten the director for the 45-minute work. Curtain time: Wednesday–Saturday at 7:30pm; Tickets: $12/$20

BEN MUNISTERI DANCE PROJECTS, JANUARY 18–21: Unlike most choreographers of his generation, Ben Munisteri is concerned with creating dramatic suggestion through abstraction and music rather than text, video and narrative.  “Tuesday, 4 a.m. and other dances,” a world premiere, is a case in point.  “Tuesday, 4 a.m.” refers to that mysterious time of day when the dreaming mind is as unpredictable and dynamic as the dance’s accompanying score, Stravinsky’s “Capriccio for Piano and Orchestra.”  Munisteri’s DTW debut program also includes the New York premiere of “Thunderblood,” set to Evren Celimli’s original score for violin and bass, which is played live, as well as the recent “Not Human,” set to a musical collage which mixes animal sounds, Debussy, Devo and Brian Eno.  One of Munisteri’s signature pieces, “Turbine Mines,” set to the “Blade Runner” soundtrack, also returns this season. Curtain time: Wednesday–Saturday at 7:30pm and Friday at 10pm; Tickets: $15/$25

JEREMY WADE, FEBRUARY 1–4: Jeremy Wade, a 2004 Split Stream alum, will present his first full-evening at DTW with the world premiere of “Fiction,” a darkly aggressive solo that grapples with the deterioration of identity and the inevitable isolation that follows.  The dance is set to an electronic score by Mike Skinner.  In “Glory,” a study of forced and voluntary submission, the performers crawl and creep across the stage, twisting their naked bodies into varied, distorted images of supplication.  The live, original music is by Loren Kiyoshi Dempster and Michael Mahalchick. Curtain time: Wednesday–Saturday at 7:30pm; Tickets: $12/$20

HEATHER KRAVAS/ANTONIJA LIVINGSTONE & PO.V.S. TANZE, FEBRUARY 8–11:  Choreographic collaboration is the name of the game in an imaginative double bill of works by Heather Kravas/Antonija Livingstone and PO.V.S. Tanze.  In “XXXXXXXXXXXXXXXXXXXX – a situation for dancing.” (sic), a world premiere set to music by Moondog, choreographers Heather Kravas and Antonija Livingstone created a four-part investigation of the subversive nature of a shadowy character.  A different section of the serial production will be shown each night.  Moscow’s choreographic collective PO.V.S. Tanze makes its DTW debut with the U.S. premiere of “3petiX.”  Each of the three linked, non-narrative sections of the dance, choreographed and performed by Albert Albert and Alexandra Konnikova, presents a dramatically different look at intense isolation. Curtain time: Wednesday–Saturday at 7:30pm; Tickets: $12/$20

REGGIE WILSON/ FIST & HEEL PERFORMANCE GROUP, FEBRUARY 15–25:  Rocking with live music and song, Reggie Wilson’s “The Tale: Npinpee Nckutchie and the Tail of the Golden Dek,” a world premiere, blends African and Caribbean-inspired rhythmic movement, rituals and vocalizations with American social dances such as Stepping, the Big Apple, the Black Bottom and the Lindy Hop.  This lively border-crossing universalizes Wilson’s ideas about the contradictory nature of human relationships.  Wilson also curated free performances by Whitney V. Hunter, as part of DTW’s Studio Series on February 17 & 18 at 6:30pm. Curtain time: Wednesdays–Saturdays at 7:30pm; Tickets: $15/$25

IVY BALDWIN DANCE & KATE WEARE, MARCH 1–4:  Ivy Baldwin’s world premiere, “Gone Missing,” was dually inspired by the unlikely combination of Edward Gorey and Soviet Russia. The dance theater work is set in a winter wilderness, where the lost characters’ increasing paranoia and suspicion are offset by moments of Gorey-like wit.  Brett Jarvis’s original score integrates Russian folk songs created and performed live by the dancers.  The erotic heat of the tango radiates through Kate Weare’s intense, dream-like “Wet Road,” a world premiere.  Lusty and sexy, the dance asks questions about the limits and pleasures of the body. Curtain time: Wednesday–Saturday at 7:30pm; Tickets: $12/$20

SUSAN MARSHALL & COMPANY, MARCH 8–18:  Susan Marshall & Company returns to DTW––the site of the Company’s debut 20 years ago–-with the New York premiere of “Cloudless.”  Psychologically complex and emotionally potent, the work is structured as 12 short vignettes, or stories, told in both solos and group sections. The music is by Jane Shaw, Philip Glass and Georges Bizet, among others.  The set was designed by Roger Hanna, and the lighting by Mark Stanley. Curtain time: Wednesdays–Saturdays at 7:30pm; Tickets: $15/$25

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