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2001 Next Wave Festival

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2001 Next Wave Festival October 2001 2001 Next Wave Festival Denise Green, For Merce 2000 BAM Next Wave Festival sponsor: PHILIP MORRIS ~lAG(8Ill COMPANIES INC. Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Alan H. Fishman Chairman, Campaign for BAM Karen Brooks Hopkins President Joseph V. Melillo Executive Producer presents Cru mpled & Corru pted 2 Chunky Move Approximate BAM Harvey Lichtenstein Theater running time: Oct 10-13, 2001 at 7:30pm 1 hour 15 minutes with Crumpled one 20-minute Choreography Gideon Obarzanek intermission Sound design Hugh Covill and Frank Tetaz Musical compositions Jochem Paap (aka Speedy J), with additional composition material by Hugh Covill and Frank Tetaz Lighting design Margie Medlin Costume design David Anderson with additional treatment by Jane Summers-Eve Corrupted 2 Choreography and design concept Gideon Obarzanek Musical compositions Luke Smiles/Motion Laboratories Lighti ng design Damien Cooper Costume creation Joke Visser and Anna Tregloan Screen creation Alan Robertson Performers Fiona Cameron Michelle Heaven Sarah-Jayne Howard Kirstie McCracken Byron Perry Luke Smiles Phillip Adams (understudy) Next Wave Down Under is presented in partnership with the Australia Council for the Arts, the Department of Foreign Affairs and Trade through the Australia International Cultural Council, and the Australian Film Commission. Support is provided by The Australian Consulate-General. Qantas Airways is the official airline for Next Wave Down Under. Next Wave dance programs are supported by The Harkness Foundation for Dance and The Joyce Mertz-Gilmore Foundation. Opening night is sponsored by Philip Morris Companies Inc. with additional support from Marienberg Wines from McLaren 'Vale. BAM thanks Theatre Development Fund for its support of this season. 25 Production Production manager Donna Aston Stage ma nager Annette Dale Lighting technician David Murray Sou nd operator Lachlan Carrick Chunky Move Artistic director Gideon Obarzanek Executive producer Jennifer Barry Financial systems manager Sue Westwood Production and operations manager Donna Aston Marketing coordinator Clare Morgan Assistant producer Kate Steele Office administrator Tracey Cromby Chunky Move Board of Directors The Opera Centre Stephen Armstrong 35 City Road Jennifer Barry Southbank VIC 3006 Daniel Besen-Chair AUSTRALIA Julian Burnside Lou isa Coppel Ph: 03 9645 5188 Jonah Jones Fax: 03 9645 5199 Elizabeth Ann MacGregor Gideon Obarzanek Email: [email protected] Irving Saulwick www.chunkymove.com David Tyndall Si mon Westcott Chunky Move Partnerships for 2001 Arth ur Andersen Asprey Di Donato Minter Ellison Open Mind International U.S.A. Cathy Pruzan of Arts Becofsky Associates ([email protected]) Representation South America, Mexico & Canada: Art Becofsky of Art Becofsky Associates ([email protected]) Europe Robert Riezouw of Ad Alta Management ([email protected]) Asia Rosemary Hinde of Hirano ([email protected]) Chunky Move is supported by the Victorian Government, through Arts Victoria, Department of Premier and Cabinet and the Commonwealth Government through the Australia Council, its arts funding and advisory body. Chunky Move would like to thank Ron Layne and all at the Australia Council, the great team at BAM, Nicole Johnston, David Tyndall, Byron Scullin, Cathy Pruzan, Woody from Nitrous, Nick and Allister from Sputnik, Tim Van Nooten from Flight Centre, Alice Blake from the MEAA, and the staff at the Australian Consulate in New York. 26 David Tyndall & Nicole Johnston in Crumpled. Pholo: Jeff Busby CRUMPLED Much of the choreography in Crumpled entertains an exaggerated sense of reality of what the body can withstand at the point of impact. Rigorous in intent and reckless in manifestation, this work of considered and calculated collisions continues on relentlessly, like an extended action sequence. The body's counterfeit resilience is only betrayed when performers of the work are selectively shut out from the piece together with the audience. CORRUPTED 2 Rather than a moral or ethical corruption, the digital meaning of 'corruption' refers to defect or damage to data. Corrupted 2 uses this digital premise as a point of departure, to explore a poetic of malfunction. By imposing various limitations and unusual movement tasks, the dancers are made to move in awkward and unnatural ways. The resulting work is both a physical and psychological manifestation of corruption. -Gideon Obarzanek 27 \Alho'c \ALb......-...-o _ Gideon Obarzanek (artistic director and chore­ critic on ABC radio and has served on the ographer) studied at the Australian Ballet Boards of the NSW Community Arts School and, after grad uati ng in 1987, da nced Association, Arena Theatre Company, and with the Queensland Ballet and the Sydney Melbourne Workers Theatre. She joined Chunky Dance Company. Obarzanek has choreo­ Move as Executive Producer in March 2000. graphed numerous works for dance companies and independent projects within Australia, and PERFORMERS his international choreographic credits include commissions for Kibbutz Contemporary Dance Fiona Cameron (performer) graduated from the Company and Nederlands Dans Theater. In Victorian College of the Arts, in 1991, and sub­ 1995 Obarzanek founded Chunky Move. As its sequently toured with Expressions dance in artistic director, he has secured its position as education team, in Queensland. From 1993 to one of the leading Australian contemporary 1995 she was a founding member of Alias dance companies. Chunky Move has per­ Compagnie, in Geneva. Cameron created roles formed at numerous international festivals and in En Manque and Moving a Perhaps, for tours regularly across Australia. Since its debut which she was also the assistant director, tour­ at the 1995 Melbourne International Festival, ing throughout Europe and to Canada. In Chunky Move has created a large body of per­ London, Cameron co-created Blue for formance work, including projects in CD-ROM Resolutions 95 and performed with Turning and television. Obarzanek has received several Worlds Dance Theatre. Returning to Sydney in awards and nominations for his choreography. 1996, she performed as a dancer/actor in In 1994 he was awarded the Sir Robert Sydney Theatre Company's Medea. With Brett Helpmann Scholarship by the New South Daffy she choreographed and performed in Wales Ministry of the Arts. In 1996 he received DNA's creative development funded by the the Prime Minister's Young Creative Fellowship Australia Council. In 1997 Cameron presented and, in 1997, his choreography for Bonehead the solo Beside Myself at the Edge Theatre and was nominated for Russia's Benois de la Danse performed in Lucy Guerin's Remote and Garry Prize. Bonehead also gained Gideon the 1999 Stewart's Fugly for the One Extra Company. She Mo Award for Best Male Dancer-Choreography. has been a member of Chunky Move since Obarzanek has just returned from Salt Lake 1997, performing in works by Gideon City, Utah, where he rechoreographed his work Obarzanek, Paul Selwyn Norton, Lucy Guerin, Cool White Fridge Knocked Over for the Kate Denborough, Phillip Adams, Shelley Repertory Dance Theatre. Lasica, Byron Perry, David Pledger, and Kim Itoh. She was commissioned to create Buy This Jennifer Barry (executive producer) graduated for Chunky Move, which was performed at Live with a bachelor's degree in communications­ Acts and at the Melbourne Next Wave Festival Theater/Media from Charles Sturt University and 2000. In 2001 Cameron created the film later earned a master's degree in Theater stud­ Toyboy and her first full-length work Looking for ies from UNSW. Barry's ten-year career in arts Life Cure as a recipient of an Australia Council management incorporates work in the areas of Emerging Choreographers grant. She has been festival programming and management, com­ a guest contemporary dance lecturer at the munity cultural development, and freelance Victorian College of the Arts and has taught for publicity, producing, teaching, and project man­ Bangarra, Chunky Move, One Extra, Alias agement. In 1994 she moved from Sydney to Compagnie, and Ausdance. Melbourne to take up the position of General Manager of Arena Theatre Company, subse­ Michelle Heaven graduated from the Victorian quently joining Arts Victoria as a Senior Arts College of the Arts, the University of Officer in the area of Organisational Melbourne, with a bachelor's of dance in 1992 Development. Ba rry has worked as a theater and master's of dance performance in 2001. 28 (continued on page 33) ~1\1ho' ~ \I\.lbr)--------------- (continued from page 28) She was a founding member of Sue Healey's Paul Selwyn Norton, Lucy Guerin, and Gideon Vis aVis Dance Canberra, performing and Obarzanek. McCracken has also worked with choreogra ph ing with the com pa ny from Tasdance and recently performed a role in Looking 1993-95. Heaven has worked extensively as for Ufe Cure under the direction of Fiona a performer in both live theater and film, work­ Cameron. She is part of an ongoing collaboration ing nationally and internationally with such between Byron Perry and Luke Smiles, The choreographers/directors as Sue Healey, Phillip Interpretation Machine, and will embark on the Adams (Balletlab); Gideon Obarzanek (Chunky second stage of Kate Champion's Same, Same Move), Douglas Horton (Chamber Made But Different later this year. Opera), Sandra Parker (Danceworks), Lucy Byron Perry (performer), a graduate of the Guerin, Tracie Mitchell, and Leigh Warren. In Victorian College of the Arts, has worked with 1998 Heaven furthered her dance studies
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