United States. Roulette Presents: DanceRoulette, February 10 - 14, 2014
by Lucy Walters
(Brooklyn, New York, Unites States)
For Immediate Release/Request for Listings:
February 10 - 14, 2014
Where:Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
When: February 10 - 14, 8pm
Cost/Info: $15/10 members/students/seniors, Advance Online Tkts $10/5,
DanceRoulette is a festival of performing artists working within movement, sound, spatial design, visual cacophony, choreography, improvisation, ephemerality, and theatrical re-imagining. DanceRoulette gathers the intriguing artists in experimental and emerging new practices in dance and choreography for a 4 day summit. With Renée Archibald, Maggie Bennett, Dylan Crossman, Stacy Grossfield, Niall Jones, Benjamin Kimitch, Heather Lang, Marilyn Maywald, Tara O’Con, Heather Olson, Jessica Ray, Andrew Schneider, Mariana Valencia, and Emily Wexler.
For tickets and for full. biographical information on each artists, please go to: https://roulette.org/events/danceroulette-2-11-14/
Monday, February 10
Renée Archibald, Heather Lang, Andrew Schneider
Renée Archibald - FIVE
A new solo work that transposes ideas of collecting, sorting, and arranging to a body of movement ideas to a new sound design by Jason Finkelman.
Heather Lang - She’s Got the Wind (working title)
A series of vignettes exploring alter egos and other fantasies.
Andrew Schneider - FIELD
Two things occupying the same space at the same time.
Tuesday, February 11
Dylan Crossman, Stacy Grossfield, Tara O’Con
Dylan Crossman - Every Me Sees Thou a Little Differently
We are complex. We are multiple. Which one will shy away, take over or win? A story of our human complications.
Stacy Grossfield - Dance of Two or Three for Roulette
Inspired by works and beliefs of Marcel Duchamp, Andrzej Zulawski, and Anaïs Nin
Tara O’Con - Frame
An evolving investigation on how to create an experience of watching live performance that is similar to how one might experience a film through the lens of a camera.
Wednesday, February 12
Mariana Valencia, Emily Wexler
Mariana Valencia - sky circle
A work that uncovers what solo bodies can do. We were told we can’t see the top of the sky.
Emily Wexler - Forest Floor
An investigation with three other women which is composed through a complicated structure that constantly dismantles itself. The work considers the consumption of women’s bodies by the public, while the women use their physical efforts, as a way to aggressively resist its theft.
Thursday, February 13
Maggie Bennett, Benjamin Kimitch, Marilyn Maywald
Maggie Bennett with Gabriel Rivera - Work in Progress
The theater and the bodies become the new sites of a work that began in May 2013 in four distinct spaces: the archeological ruins of Teotihuacan; MUAC, the contemporary art museum in Mexico City; a library, which they considered “virtual space”; and a gallery/contemporary art scene.
Benjamin Kimitch - I love the handful of earth you are (in-process)
A new work-in-process that excavates emotions out of rigorous, calculated structures, based in ongoing research on Buddhist imagery; performed by Julie McMillan.
Marilyn Maywald - Solo Study #4: Repertwah
Motion as engine for memory and imagination. Dancer as Maker.
Friday, February 14
Niall Jones, Heather Olson, Jessica Ray
Niall Jones - Acrylics and Noises, 1990
This body is melodramatic – a propositional site of unsettled realities and disorienting intensities. This work conspires to complicate the availability or motility of time, image, and representation. Acrylics and Noises, 1990 wants to be about both the eternality and mutability of the receding past, and it is certainly a dance danced alone.
Heather Olson - Moves (a work in progress)
After a two year break from making work after having a baby, Heather Olson wonders what kind of movement will come out of her body if she spends some time alone in the studio. This solo work is a container for what she finds and will be the beginning of a larger process.
Roulette – one of New York City’s premiere venues for experimental music for over 33 years - has reopened bigger and better than ever. Located in a newly renovated 1920s Art Deco concert hall in Downtown Brooklyn, the new Roulette features two levels of seating for up to 400 people (600 standing), an expanded multi-channel sound system, projection screen for film and multi-media events, state-of-the-art lighting system, modular stage, and a specially designed floor to accommodate dance. Teamed with bold new programming, the new Roulette promises to be one of the most exciting places in New York City - if not the country - to experience adventurous music and art.