by Tania Kupczak
TONIGHT | 6 – 8pm | Mainstage Lobby -
Regional Programs Director Sean Ryan and other OtB staff will be on hand to go over the application process and answer any questions you may have in applying. We will go over what has worked and what hasn’t worked in the past. We will also go over what works as a work sample. Feel free to bring any renditions of project proposals so that you can ask questions at the end about how your drafts are coming. Hope to see you there to raise a glass and talk shop.
Download the 2011 application [Word doc]
This just in from 10/11 artist Paul Budraitis:
I’m writing to let you know about a biomechanics intensive that I’ll be leading on the weekend of November 13th-14th. The class will consist of an overview of all of the basic principles of biomechanics training, so it will be a great opportunity for anyone who might be interested in learning more about biomechanics to dive in and try it. For people with previous biomechanics experience, the class will be a chance to check back in with it and refresh their understanding of the fundamentals.
DATE / TIME / LOCATION:
November 13th and 14th, from 12:00-4:00
Theatre Puget Sound on the 4th floor of the Seattle Center’s Center House
$50 for registration before October 31st
$65 after October 31st
1. Pat has been creating work in Seattle for nearly 30 years. From her first piece in 1982 up until now, she has been a mainstay of the local dance scene and has toured widely (the original tours of Faith, Sleep and Tattoo took Pat and company everywhere from NYC to Germany to Chile). Take a look at this quick overview of Pat’s productions from over the years.
2. Pat and On the Boards have a relationship that extends back to the earliest days of the organization and Pat’s career. She used to trade work for rehearsal space when she was working on her earliest creations. She also named OtB’s longest running program – 12 Minutes Max.
3. A longterm focus for Pat has been the mentoring dancers who are early in their careers. Many established dancers...
Artists, galleries and museums are beginning to tackle the question of how to archive and own performance art, work which is often without a final object. The Financial Times article "Performance art in the marketplace" is an interesting read about what some gallerists and artists, including Marina Abramovic, are working on. Check it out!
When Pat Graney created Faith in 1991, she referenced a series of Caravaggio's paintings. Check out some of the images after the jump and see if you can spot how these are quoted in Faith, the first part of Faith Triptych.
[The Calling of Saint Matthew]
[The Burial of St Lucy]
[The Death of the Virgin Mary]
OtB's season opener offers beauty, world-renowned performers, and loss of hearing
Christian Rizzo's Stuporous Tableaux are Minimalist, Hour-Long
Performance Review: Christian Rizzo at On the Boards
A White Tank Top Review
-City Arts Blog
Christian Rizzo at On the Boards
REVIEW: Christian Rizzo at On the Boards is...
…Running rabbits can symbolize a waking life situation requiring a hare's agility. Such a dream may also be a communication that one needs to stop using the mind as a tool for over-analyzing a situation and begin using it as a means to productively process intuitive information.
I relish the moments when our urge to define is suspended. When the unexpected giant-slide-for-the-mind-wormhole appears, I will willingly get aboard and ride it through space and time freed from everything but that very experience.
This is one of the reasons—aside from the stunning beauty of his work—I am pro-Rizzo. He claims to be a formalist. He wants you to figure things out for yourself just by simply experiencing what is in front of you—the mystery is your mystery and you should be comfortable letting it unfold for you. Just relax into the moment because whatever you want this sensory-feast to mean, it is fine.
So what did it mean for me? Magic. b.c…, is a...
by Amy O'Neal
Everything Christian Rizzo does on stage is deliberate. Even if perhaps he chooses to pick up candles in a different order each night (which I don't know for certain, but want to find out), he would treat each moment with a formalized tenderness. The first time I saw Rizzo was in 2006 at On the Boards. I knew nothing about him then and just showed up wide open and ready for anything, not even reading the program until afterward. I was blown away by what I saw then, but not in that sense that you just went to performance gospel church where maybe you want to get up and join in with the magic and excitement that is happening before you. I was more taken with the feeling that I had just witnessed something so special by an artist who sees the world in a way that I didn't imagine before. An artist whose world is so clearly unique and developed and personal and meaningful without there being any inherent meaning at all. If you...