Office Closed for Holiday Nov 25, 2014

by Monique

OtB administration and box offices will be closed Wednesday, November 24, 2014 and will re-open Monday, December 1, 2014. We apologize for any inconvinence.

xoxo - OtB

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"What Does it All Mean?" - Marcie Sillman on Tere O'Connor Nov 24, 2014

by Erin

Arts reviewer/journalist Marcie Sillman on O'Connor's BLEED at And Another Thing...

A few years ago, my friend Christopher let me in on his approach to contemporary art.

"Just sit down in our seat," he instructed, "take a breath and open all your chakras to what you're about to experience."


That's probably the best advice to heed before you see Tere O'Connor's Bleed. This work for 11 dancers, and the three separate works that informed it, were all performed in Seattle November 20-23, 2014 at On The Boards and Velocity Dance Center.

Bleed is an abstract, hour-long dance. Choreographer O'Connor told dance writer Melody Datz Hansen of "The Stranger" that he doesn't make work to convey meaning. He wants us, the audience, to experience his dances at the moment we watch them. Somebody described this to me as akin to watching something...

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What’s that ‘about’? On Tere O’Connor’s BLEED, and the “meaning” of dance Nov 24, 2014

by Imana Gunawan

When one looks at a dance, or any art work in general, there is always a strong urge to figure out what it “means” or what it’s “about.” It’s human nature. For many people, when those questions aren’t answered, the piece would feel unsatisfactory.

Those people may not enjoy BLEED very much, then. The piece, created by Tere O’Connor and performed at On the Boards, dwells less on defining concepts within a dance and more on how choreographic structure dictates what concepts are brought out as a supposed “meaning.” At least, that’s what the program note said.

But I didn’t read that note until I had finished watching the piece, and I’m kind of glad I didn’t. Being a dance critic, I consider my job to evaluate a dance, and part of that evaluation is trying to figure out what a dance is trying to convey and analyzing how effective the dance was in delivering it. Then I assess how the more technical elements come into play: whether the choreography, dancers, setting...

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Again Nov 23, 2014

by Dylan Ward

So, in order to fully have the most high academic perspective on Tere O Connor and his many ideas I decided to attend the formative pieces of the work I saw previously this week in order to have smart thoughts about them.

But I didn't.

I can always provide smart writings and eloquations and new words towards the things I enjoy or am passionate about; this is how I somehow got a degree from a higher institution in THE COMPARATIVE HISTORY OF IDEAS, also known as a degree in ALL THE THINGS AND ALSO NOTHING AND THAT MEANS SOMETHING.

I became interested in dance in college for that heady reason, because the human body subjectivity intergenerational philisophical physical ideas constructs histronic management in the internal schema of operating multiplicities. 

I keep dancing and watching and making dance because it makes me feel like a 5 year old.  Delighted. I get really tired of big words, useful as they are for what words are for.

And shy...

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Seattle Times review: "Tere O'Connor's BLEED mesmerizes, surprises" Nov 22, 2014

by Erin

Alice Kaderlan breaks down BLEED at the Seattle Times:

One of the greatest challenges for a choreographer is knowing how long a dance should be. The current trend to hourlong non-narrative works performed without intermission can sometimes strain a viewer’s attention with unnecessary repetitions and lack of coherence.

In “BLEED,” prominent American choreographer Tere O’Connor has succeeded in creating a riveting ensemble piece that never flags over its 60 minutes. From an opening solo by Heather Olson to a final group tableau, “BLEED” provides a fascinating exploration of the interactions among human bodies in motion.

One of O’Connor’s greatest talents is in interweaving his 11 talented dancers into ever-changing patterns. Sometimes they form a daisy chain as though making a human braid, sometimes they run or jump in unison and sometimes they do...

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Clarity Is a Useful Fiction - Interview with Tere O'Connor Nov 22, 2014

by Erin

Melody Datz Hansen at The Stranger interviews choreographer Tere O'Connor:

What is it about Seattle that made this the place for you to present these four pieces?

Seattle is one of the main cities in America that has a dance scene—it’s a destination dance city. The reception here has been great, we had 40 thoughtful people at the workshop and 20 people with some really interesting questions at Monday’s book club.

Are you tired of people bringing up the Joan Acocella letter?

No. It was just one electrified part of something I’m continually engaged in and many dance writers have no expertise in dance. I want to challenge that because we try to articulate what our work is and [critics’] responses come from their own preexisting hierarchies and lack of understanding of the goals of the artists. We are so...

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My Time with BLEED Nov 21, 2014

by Rachael Ferguson

In a one hour session I was treated with BLEED by Tere O’Connor last night.  I was reminded that the body communicates constantly. There were moments of stillness and waiting. I can see the dancers’ eyes looking at each other and silently communicating. The tension grew to impetus and that’s when movement erupted. Even at rest the bodies are telling me something – whether they’re sleeping, stunned, actively seeking comfort… the bodies won’t stop talking. The smallest gestures of the piece spoke the loudest like a turn of the head. A gentle nodding from one dancer to another across the floor.  These things we deem subtle but they trump words. And I do mean words and not sound.

The sound used in BLEED was precise and startling.  The dancers weren’t linked to music time. From what I observed, the dancers were linked to each other and each other’s actions.  And when an audible broke the silence of that world it did a few things like...

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BLEED by Tere O'Connor Nov 21, 2014

by Dani Tirrell

A large black box stage, simple but effective light design, no props, no video and no set design allowed my senses to become open to Tere O’Connor’s Bleed. It was a joy to witness dancers move with an empty stage as their playground. The dancers became the set, the video, the props and at times the sound score. Bleed is a dance about memory of previous choreographed works by Mr. O’Connor (You still have a chance to see his works poem, Secret Mary and Sister, Friday through Sunday at On the Boards and Velocity Dance Center).

The ensemble of eleven dancers invaded the stage with grace, love, balance and unbalance. Through the ensemble work, the solos, duets, trios and quartets each dancer commanded the stage with vigor and reckless abandon. One of my highlights were seeing the dancers rub their hands together vigorously then rub the heat of that action over their face and arms.  This simple gesture allowed me to sense what was and what is to come.

Bleed was filled...

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