A 5-day workshop with Katie Duck
Monday 15-Friday 19 July, 11 am-5 pm
Teacher: Katie Duck
For dancers and movement artists.
Full Week: £210 Standard | £195 Low income | £180 Concessions
Single Days: £45 | £40 Concession
In this workshop, Katie guides dancers through physical exercises that highlight how vision and hearing affect our movement choice. The workshop extends towards improvisation sessions where a fictional front is set in the studio space and then declaring this as a platform to choose pause, flow or exit. This platform highlights how the limit of these three choices can already provide the frame for a composition to take place, and that misunderstanding, coincidence, live-time, interactivity, messiness, emotions, intuition and inspiration are basic materials in a creative process.
These raw materials are integrated with the combined fact that everyone in the workshop group can make a choice. The improvisation sessions are given a delegated time frame with an option for the workshop group to shift, drop or lift the space at will. This shifting, dropping and lifting of the performance space places each individual in a position where they need to be fully awake or they will lose the thread of the creative composition activity in play. Choice is introduced to the workshop group as a composition reality but also as a means for individuals to elect to participate in the performative or as a viewer and yet remain involved in the process. The aim is to gather the workshop group to recognize that in a creative composition process, time is passing at different perceived speeds and that space is shifting in several dimensions at once.
This awake fullness promotes individual performance presence and composition alertness.
For questions about this workshop, contact email@example.com
Please note Chisenhale Dance Space is not a step-free access venue. For access requirements, please contact firstname.lastname@example.org
About Katie Duck
I am a director, performer and teacher who has been working professionally since 1976. I take a microscopic study for the role improvisation plays in real-time composition integrating music, movement, object and writing. Improvisation, in my performances, is not the antithesis of choreography or composition; it is how I make my artwork out of practice both in the studio setting and the newness of real-time improvised performance. My performances are about the experience of being there, you are participating in the event and thus, in a sense, in the work. My practice is a reflection of what I believe art in the theatre can only be – live.
Katie Duck is the Zorba the Greek of improvisation: earthy, feeling every mode of sensuality, preposterous, irresistible, polymorphously perverse. Watching her dance is like watching her body think. She is responsive to every situation and obviously enjoys getting into trouble.