Critical Correspondence
Part 3: Daria Faïn and Robert Kocik in conversation with Marissa Perel
Choreographer Daria Faïn and poet Robert Kocik spoke with CC Co-Editor Marissa Perel about their opera/Greek tragedy/choral poem “E-V-E-R-Y-O-N-E,” scheduled to open October 31, 2012 at New Yok Live Arts. Due to Hurricane Sandy, the production was canceled, but is now rescheduled for February 8-March 2 2013. In an e-mail, Robert explains why the hurricane is part of the process, describes his intended installation, “LOBBYING (acts of re-English),” and shares archival research.
Maida Withers in conversation with Lydia Mokdessi
Washington, D.C. choreographer, director, and George Washington University professor Maida Withers talks with CC’s Lydia Mokdessi about her newest dance theatre work, the nature of Washington audiences, her freewheeling Utah upbringing, and her 55-year teaching career in higher education. Collision Course – a.k.a. Pillow Talk debuted on December 7, 2012.
Part 2: Daria Faïn and Robert Kocik in conversation with Marissa Perel
Choreographer Daria Faïn and poet Robert Kocik spoke with CC Co-Editor Marissa Perel about their opera/Greek tragedy/choral poem “E-V-E-R-Y-O-N-E,” scheduled to open October 31, 2012 at New Yok Live Arts. Due to Hurricane Sandy, the production was cancelled, however in a series of posts exclusive to CC, Faïn and Kocik relate their process. In Part 2, the artists discuss working with a libretto, historical research, Chinese energetics, money as a shared resource, and levels of engagement with the work.
Part 1: Daria Faïn and Robert Kocik in Conversation with Marissa Perel
Choreographer Daria Faïn and poet Robert Kocik spoke with CC Co-Editor Marissa Perel about their opera/Greek tragedy/choral poem “E-V-E-R-Y-O-N-E,” scheduled to open October 31, 2012 at New Yok Live Arts. Due to Hurricane Sandy, the production was cancelled, however in a series of posts exclusive to CC, Faïn and Kocik relate their process. For Part 1, the artists discuss the formation of the Commons Choir, phonemes, prosody, and freeing language from systemic and institutional oppression.
SHOW/TELL by Christine Shan Shan Hou
In an effort to represent diverse processes and means of reflection, Critical Correspondence asked poet and artist Christine Shan Shan Hou to submit responses to the work she is seeing according to her own creative practices. This is part of our ongoing interest in soliciting alternative materials from the performance community highlighting the intrinsically subjective nature of creation and observation. This page will be updated often as a series in as many parts as can herein be contained.
So Common, Hardly Anyone Can Find It: (Soma)tic Poetry with CAConrad by Lizzie Feidelson
CC intern Lizzie Feidelson reflects on the relationship between dance and writing during a (Soma)tic Poetry Workshop, a movement-based writing workshop conducted by Philadelphia-based poet CAConrad in May 2012 as part of Movement Research’s 2012 festival: Push It. Real. Good.
The Score by Clarinda Mac Low
Clarinda Mac Low reflects on dance scores in the second of a series of several writings for CC in 2012, which she has dubbed “The Year of Dance.” Mac Low will be presenting “40 Dancers do 40 Dances for the Dancers” at Danspace Project this September 2012. The piece is based on “The Pronouns: 40 Dances for the Dancers,” a series of dance scores by her father, Jackson Mac Low.
