Present

This section of THE RED LINE is about show time:
how to give your work to an audience and how to articulate it.
What is the presenting process like for you?

Learning Around Presenting Interaction

Art is a powerful tool to turn the world upside down and see it from a new perspective, to allow conversations, to break down normal conventions and to convey messages without being direct and explicit. Katie Dale-Everett Dance are passionate about creating works that facilitate shared group learning, whilst also allowing space for individual ownership…

50:50 Dance Programming – is it time for quotas in dance?

How can we make sure female identifying and gender non-binary choreographers, artists and leaders are more fairly represented in dance? As part of International Women’s Day celebrations, we co-hosted with Brighton Dome a live discussion about gender equality in the dance sector. We live streamed it on Facebook too, and you can watch the film…

A Lighting Designer’s Gift

A first step in collaborating with a lighting designer, supported by South East Dance’s Flourish Bursary   A huge thank you to South East Dance and their Flourish Bursary, their kind support has allowed me to begin my collaboration with lighting designer Vanessa Brooker.       As an emerging artist and a recent graduate,…

Overcoming Unforeseen Challenges

Written by Isaac Ouro-Gnao We’ve all had to face challenges in the industry. From emergency drop-outs to last minute changes, creating dance theatre never stops being tricky. Body Politic was met with quite a challenge in our recent project Father Figurine. Though it did not prove insurmountable in retrospect, it was quite colossal to face…

The Red Line Sessions: The Personal and The Political

You are listening to The Red Line Sessions – a new series of podcasts from South East Dance as part of our Dramaturg in Residence programme. Over the next weeks, you can join dramaturgs Lou Cope and Luke Pell for a number of reflections, discussions and exclusive interviews with artists that shed light on how…

People Dancing International Conference 2017

People Dancing International conference 2017 focused, among other topics, on how to lead dance classes for people with Parkinson’s. In the photo attached you can see delegates in a dance with Parkinson’s session with independent artist Danielle Teale, who focused on co-ownership of the dancing experience. Other experts included Rachel Bar from Canada’s National Ballet, who spoke…

TEST – Martin Hargreaves workshop on… Dramaturgy? by Maud Lannen

Martin’s workshop was super challenging – the risk taking inherent to improvisation, the impossibility of fulfilling any given task well and the never quite grasping their purpose anyway , combined with the yearning to seduce and let yourself be seduced was always intrinsically part of Martin’s scores (see also everybodystoolbox.net). I felt curious, willing, scared,…

An Introduction To Writing About H2Dance’s Strangers & Others

Or A Fictional Construction Of Real Words Between Philip Auslander and Amelia Jones Philip Auslander: As a point of departure for my analysis here, I propose that performance documentation has been understood to encompass two categories, which I shall call the documentary and the theatrical. The documentary category represents the traditional way in which the…

Don’t just watch dance, become part of the show, go outside, put on some headphones and perform in Is this a Waste Land?

Is this a Waste Land? by Charlotte Spencer Projects. Photo by Pari Naderi Imagine going into a field, meeting a random group of people, putting on headphones, hearing music, following instructions and performing choreography. This is the unique creation of choreographer Charlotte Spencer called Is this a Waste Land? Her work and company Charlotte Spencer Projects has…

On the Arc of a piece of work

Annie Lok, Luke Pell, Tim Lenkiewicz and Evangelia Kolyra discuss engagement points, coherency, drifting and the “7-10” area of a piece of work.

A note about programme notes by Filippo Romanello

Do you want it read before the performance? Yes Why? So the audience can be prepared Then prepare them. Give it to them But that might spoil it. What if it sets expectations that aren’t met Well then do not set expectations How Give it at the end That’s a cheat AHAH Come on Listen,…

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