BILL'S BLOG

 

12/06/2011
New York Live Arts presents Meg Stuart / Damaged Goods & EIRA

NEW YORK LIVE ARTS
in cooperation with the Goethe-Institut presents
Meg Stuart/Damaged Goods & EIRA
in the North American Premiere of
BLESSED
January 12-14 at 7:30pm

New York, NY, December 6, 2011 – New York Live Arts in cooperation with the Goethe-Institut presents Meg Stuart/Damaged Goods & EIRA in the North American Premiere of BLESSED, January 12-14 at 7:30pm.

BLESSED is a work created by American-born and Brussels-based choreographer Meg Stuart for the Portuguese choreographer and dancer Francisco Camacho. Created in 2007 and awarded the French Prize of Criticism in 2008, BLESSED – a solo work featuring Camacho – comforts with the sensitive power of the aesthetics of destruction. Basic elements such as rain, cardboard and the human body form the basis for a defense against total ruin and final destiny. As the piece unfolds, audiences witness a slow collapse with no escape route. BLESSED is a work of great somberness and beauty focused on the unrelenting struggle for life.

Performances will take place at New York Live Arts’ Bessie Schönberg Theater. Pre-show talk on January 12 at 6:30pm. Post-show talk on January 13. Tickets are $24 in advance, $30 day of performance, and $15 on January 13. Tickets are available online at tickets.newyorklivearts.org, by phone at 212-924-0077 and in person at the box office. Box office hours are Monday to Friday from 1 to 9pm, and Saturday and Sunday from 12 to 8pm.

Choreography by Meg Stuart; Created with and performed by Francisco Camacho with appearances by Abraham Hurtado and Kotomi Nishiwaki; Music by Hahn Rowe; Dramaturgy by Bart Van den Eynde; Installation by Doris Dziersk; Costumes by Jean-Paul Lespagnard; Lighting by Jan Maertens; Assistant choreographer Abraham Hurtado; Assistant set designer Ania Pas; Production manager Eline Verzelen. Produced by Damaged Goods & EIRA. Co-produced by Kunstencentrum Vooruit (Gent), Volksbühne am Rosa-Luxemburg-Platz (Berlin), PACT Zollverein (Essen), Centro Cultural de Belém (Lisboa), Théâtre de la Bastille (Paris), Festival d’Automne (Paris).

Meg Stuart & Damaged Goods are supported by the Flemish Authorities and the Flemish Community Commission.

For more information visit www.damagedgoods.be and www.eira.pt.

About Meg Stuart
Meg Stuart (USA) is a choreographer and dancer living and working in Brussels and Berlin. In 1986 she received her BFA in dance at New York University and continued her training following classes in Release technique and Contact Improvisation at the dance laboratory Movement Research (New York). In the 1980s Stuart worked as a dancer with Nina Martin, Lisa Kraus, Federico Restrepo and Marcus Stern, and from 1986 to 1992 she was a member of the Randy Warshaw Dance Company, where she was also assistant to the choreographer. On the invitation of the Klapstuk festival in Leuven, she created her first evening-length piece Disfigure Study, which launched her choreographic career in Europe. Stuart founded her own company Damaged Goods in 1994 and made Brussels her artistic home. She has collaborated with many artists including Pierre Coulibeuf, Philipp Gehmacher, Ann Hamilton, Gary Hill, Benoît Lachambre, Jorge León and Hahn Rowe. Residencies in Schauspielhaus Zürich (2000–04) and Volksbühne am Rosa-Luxemburg-Platz Berlin (2005-2010) led to collaborations with theatre directors Stefan Pucher, Christoph Marthaler and Frank Castorf. In 2010 Meg Stuart/Damaged Goods initiated a new collaboration with the Münchner Kammerspiele where next year’s production will premiere at the end of April 2012. With Damaged Goods, Stuart has created more than 20 productions, ranging from solos to large-scale choreographies and including site-specific creations and installations. Over the years she has initiated and taken part in several improvisation projects. She curated the festival Intimate Strangers (Berlin 2006, Brussels 2008, Toulouse 2011 and Ghent 2011) with performances, concerts, installations and lectures by artists related to Damaged Goods. Her work has travelled a wide international theatre circuit and has also been presented at Documenta X (1997) in Kassel and at Manifesta7 (2008) in Bolzano. Stuart also teaches workshops in a variety of contexts. Meg Stuart received the Mobil Pegasus Award at the Sommertheaterfestival in Hamburg (1994) for No Longer Readymade; the Culture Award of the Catholic University of Leuven (2000); the German theatre prize Der Faust (2006) for her choreography of Replacement; the French Prize of Criticism (2008) for BLESSED; a special prize for Maybe Forever at the Bitef Festival in Belgrade (2008); a New York Dance and Performance “Bessie” Award (2008) for her body of work; a Flemish Culture Award in the category performing arts (2008).

About Francisco Camacho
Francisco Camacho (Portugal) studied dance, theatre and voice in Portugal and continued his studies in New York at the Merce Cunningham Dance Studio and the Lee Strasberg Theatre Institute. He has danced with several choreographers, including Paula Massano, Meg Stuart, Alain Platel and Carlota Lagido. Since 1988 Francisco Camacho’s own work has been presented in Europe, America and Africa. Apart from the solos and group pieces that he has directed, he has also created several performances in collaboration with artists active in dance and theatre. Within the context of exhibitions of artists like Pedro Cabrita Reis and Francis Bacon, he has also developed site-specific projects. As an actor he participated in plays directed by Lúcia Sigalho and in short movies. He teaches regularly in Portugal and abroad. The Portuguese press association Casa da Imprensa awarded his work with the prizes Bordalo 95 and 97. In 1994-1995 he received the prize ACARTE/Maria Madalena de Azeredo Perdigão. Francisco is the founder of EIRA, his own production house.

About New York Live Arts
New York Live Arts strives to create a robust framework in support of the nation’s dance and movement-based artists through new approaches to producing, presenting and educating. In addition to our deep commitment to individual artists at all stages of their careers, we strive to create rich, meaningful experiences for our audiences by engaging them in ways that are intimate and thought-provoking. With our audience, we seek to become a place for dance that is vital to the fabric of social and cultural life in New York, the United States and beyond.

Formed in February 2011 by a merger of Dance Theater Workshop and the Bill T. Jones/Arnie Zane Dance Company, New York Live Arts is a re-imagining of the legacies of these two extraordinary organizations. New York Live Arts is located at 219 West 19th Street in New York City and is led by Bill T. Jones as Executive Artistic Director, Carla Peterson as Artistic Director, and Jean Davidson as Executive Director and CEO. www.newyorklivearts.org

Funding Support
Lead support for New York Live Arts is provided, in part, by Ford Foundation, The National Endowment for the Arts, New York State Council on the Arts, Bloomberg Philanthropies, Open Society Foundations and the Fund for the City of New York, Doris Duke Charitable Foundation and EmcArts Innovation Lab for the Performing Arts, New York City Department of Cultural Affairs, The Rockefeller Foundation, Booth Ferris Foundation, the Lambent Foundation Fund of Tides Foundation, Trust for Mutual Understanding, SeaChange Capital Partners, Robert Sterling Clark Foundation, The Shubert Foundation, Mertz Gilmore Foundation, The New York Community Trust, The Howard Gilman Foundation, The Jerome Robbins Foundation, The Fan Fox and Leslie R. Samuels Foundation, The Jerome Foundation, William J. and Dorothy K. O’Neill Foundation and The Scherman Foundation.

The merger between the Bill T. Jones/Arnie Zane Dance Company and Dance Theater Workshop to form New York Live Arts was supported, in part, by Ford Foundation, Doris Duke Charitable Foundation and EmcArts Innovation Lab for the Performing Arts, The Rockefeller Foundation, Booth Ferris Foundation, SeaChange Capital Partners, The New York Community Trust, Mertz Gilmore Foundation and the William J. and Dorothy K. O’Neill Foundation.

PRESS KITS AND DIGITAL IMAGES AVAILABLE UPON REQUEST
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