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Posts Tagged ‘Gabrielle Revlock’

Meet the dancers of Levée des conflits’ professional workshop, Pt. 2

Posted September 1st, 2016

On September 9th and 10th FringeArts and Drexel University’s Westphal College will present Levée des conflits, a dance in the round from world-renowned choreographer and dancer Boris Charmatz, as part of the 2016 Fringe Festival. Beginning September 7th, Westphal is hosting a series of lectures and workshops—professional and community—around the performances as part of a series dubbed Boris Charmatz: Dancing Dialogues,capped off with an informal performance from the professional workshop of 24 local dance artists. In anticipation, Dancing Dialogues has been profiling each participant and we’ll sharing their reflections on their craft here. (Pt.1 here)

Loren Groenendaal

loren groenendaal

(photo by Bill Herbert)

“The practice of being present in a meditation practice applied to movement is really amazing. But then it’s also not an attachment practice. It’s like here’s myself and I’m putting it out there but immediately adapting to another, and immediately being yourself. Like always renewing yourself in another and being bold enough to put something out there but not being too attached to the outcome. That’s been a huge life lesson that I’ve gotten back from contact improv. Dancing or teaching – putting out an idea in the world, moving in the body, and don’t be attached to the outcome.”

beau hancock

(photo by Lindsay Browning)

Beau Hancock

“Both sides [audience and dancers] are hampered. To be an observer, you are divorced from the lived experience of the dance, which is such a beautiful understanding of what’s inside the work. Although there is empathic kinesthetic understanding of having a body, of taking in sensory information when watching a performer. You feel it in your bones. You feel a leap across the stage in your pelvis. And for the performers, they’re also missing the beauty of the macro-vision of the work. An audience gets to swim in the fullness of the dance.”

 

Gabrielle Revlock

gabrielle revlock

(photo by Hallie Martenson)

“A performance is like a portal to this other world. And it feels like a real gift to be able to enter into this other world, entering this other self. I think in a lot of my performances, I’m playing some version of myself. It’s like we have all these different sides of ourselves, it’s all in there but maybe there’s one dominant side that people are seeing in daily life. To turn that into a different side and a performance is really satisfying to me. I really wish that everyone could have the opportunity to perform and to know themselves in this different way.”

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Getting to know you: Interview with Gabrielle Revlock

Posted March 23rd, 2016

“I think the intimacy comes from having to be really attuned to each other. I can’t space out or go off on my own. I’m constantly thinking about where he is and what he’s doing and how he might respond. There is an alertness.”

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This weekend, March 24–26, Gabrielle Revlock brings her new dance work Show No Show to FringeArts. (Link to tickets.) Created with fellow dancer Aleksandr (Sasha) Frolov, the dance is a lively and intimate portrait of two people getting to know each other for the first time—two people who have few personal boundaries. We caught up with Gabrielle back in October of 2015 to ask about Show No Show’s beginnings and how it’s evolved.

FringeArts: How did the title Show No Show come about?

Gabrielle Revlock: This title came from Sasha [Aleksandr Frolov]. I like that it’s a little ambiguous/confusing/broken English/symmetrical/compositional. It gets at a are we performing or are we not performing—both for the audience and for each other. There is a game element. It reads as a game name to me. In the piece we do a lot of role playing and stepping into different states. Show relates to showing a thing and also doing a performance. I like it as a title because it’s open and has room for many interpretations. As soon as he said it I felt, yes, this is the title.

FringeArts: How did you meet Sasha and can you talk a little about how the two of you worked and created together? 

Gabrielle Revlock: We met at a residency at Omi International Art Center in August 2014 and generated thirty minutes of material. We were really dedicated to working on the piece during the residency. It’s hard to say exactly how we began. I remember being impressed with him as a dancer and also curious about the way he moves because it’s different from my own movement patterns. I also enjoyed the solo he performed, My Life—it was brave and personal. It felt very present. I knew that I wanted to work with him but it’s always hard in the beginning because you don’t want to force someone to work with you if they don’t want to. At one point we ended up being partners in an exercise someone else at the residency led. (The first week everyone leads workshops for each other.) It was super awkward and did not go well and so I though okay, tried that, didn’t work, no chemistry, moving on. But somehow we got another chance to work together and it flowed so we kept going. We improvised a lot. I guess that’s how it began. We found a really good chemistry and share a sense of humor. I guess that’s why it continued.

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Get to Know Show No Show’s Gabrielle Revlock and Sasha Frolov

Posted March 22nd, 2016

This weekend marks the premiere of Show No Show, a duet created and performed by Philadelphia native Gabrielle Revlock and Russian-based Aleksandr (or Sasha) Frolov. The pair began developing the piece during a 2014 residency at the Omi International Arts Center where they first met, and fittingly it follows two characters as they get to know each other. Speaking to FringeArts, Revlock noted that the two did not strike an immediate connection in their initial exercise together. As she puts it, “It was super awkward and did not go well and so I thought okay, tried that, didn’t work, no chemistry, moving on.” Thankfully the two had another chance to work together before the residency ended and something clicked: “We found a really good chemistry and share a sense of humor. I guess that’s why it continued.”

Show No Show 2533

Photo by Hallie Martenson

These notions of chemistry and humor are central to Show No Show. This is not a mannerly, polite meeting of two strangers, maybe sharing a cup of coffee and talking about the latest Netflix show or that hip restaurant that sells $10 ramen. This is, as described on both artists’ websites, “a truth or dare using a peach, a megaphone, two chairs, and a white tablecloth.” The work charts the process of two people really getting to know each other; all the awkwardness, vulnerability, cruelty, and tenderness—and not many boundaries to boot. Unpredictable and entrancing, they use each other and the space to mine the complexities of opening oneself up to another, laying bare the hilarious, maddening, and heartbreaking feelings that come with it. Without the chemistry and comedic sensibilities Revlock and Frolov share, such powerful notions would likely be lost on most viewers, but in their capable hands it’s strikingly palpable.

Seeing as we’ll soon be witnessing Revlock and Frolov getting to know each other onstage, why don’t we all get better acquainted with the individuals? Below you’ll find a brief sampling of works these startlingly accomplished dance artists have produced. Undoubtedly there are many great things to come from both, and Show No Show is one of them. Be sure to catch it March 24-26.

Gabrielle Revlock

On her website Revlock describes her body of work as, “Projects [that] blur the line between living and performing… Imaginative and sincere, the works invite the viewer in and are intended to evoke emotional reaction and stimulate intellectual exploration. Speckled with humor and surprise, they also entertain.” While this is a pretty apt summation of her body of work—and is particularly tangible in Show No Show—it only hints at the breadth of her always surprising, genre-defying work. Here are a few recent highlights.

So You Think You Can’t Understand Contemporary Dance?

Revlock often addresses and plays with the belief that contemporary dance is inaccessible in her work and in this film commissioned by thINKingDANCE she attacks that fallacy head on. Born from her interest “in bridging experimentation and populism,” she provides a short, sweet contemporary dance primer with the help of her favorite 5 year old. The short has been translated into Italian, Swedish, Polish, Hungarian, and Russian (more on that last one later).

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Winter at FringeArts lights up the waterfront

Posted January 13th, 2016

Communications Intern Hugh Wilikofsky shares his comprehensive guide to the FringeArts Winter season.

 

As we gear up for our first show of 2016, we at FringeArts simply cannot contain our excitement over our entire upcoming winter season. Literally. It is tearing us all apart. We’ve been screaming about it at the top of our lungs for some time now and the neighbors hate us. This excitement needs an outlet. So, I am going to do my professional duty and alleviate at least a little bit of that need by clueing you all in to the future goings-on here by the waterfront.

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Photograph: Moon So Young

First up, showing January 21-23 is Toshiki Okada’s latest play God Bless Baseball. A collaboration between Japanese and South Korean actors, the play follows two girls as they attempt to comprehend their countries’ favorite pastime with the help of a man who understands the game but despises it, and another who thinks he’s Japanese baseball star Ichiro Suzuki. However, despite the men’s best efforts, the girls continually frustrate their explanations, slowly teasing out just how deeply rooted the game is in the everyday life of Japanese and South Korean people.

Though most contemporary Japanese theater rarely makes it outside of the country (as far as I know, though I’d be happy to be wrong on that one), since 2009 Okada’s work has received regular productions here in the US. His oeuvre is said to represent Japan’s “lost generation,” the group most affected by the Japanese recession of the 1990s and this is perhaps part of why he has found an audience here, in the wake of our own Great Recession. Characterized by the idiosyncratic vernacular of Japanese twentysomethings, his vérité writing style is in some ways akin to that of renowned American playwright Annie Baker, but his use of disjointed and abstract choreography based on exaggerations of everyday gestures imbues his works with a quirk all his own. On top of the Philadelphia premiere of God Bless Baseball, FringeArts will also be hosting a reading of Okada’s The Sonic Life of a Giant Tortoise directed by Pig Iron Theater Company artistic director Dan Rothenberg on January 18.

Escuela, La Dirección y dramaturgia está a cargo de Miguel Calderón, se presentará en la sala N° 2 del teatro de la Universidad Católica a las 22 horas, en el marco del Festival Internacional Santiago a Mil. En Santiago; 20/01/2013 FOTÓGRAFO: * VALENTINO SALDIVAR*

Photograph:  Valentino Saldivar

Next up, showing January 28-30 is Chilean playwright/director Guillermo Calderón’s latest play Escuela. Set in Chile in the late 1980s, amid the tumultuous transition between the brutal dictatorship of Augusto Pinochet and the dubiously regarded democracy that followed, a group of left-wing university students receive secret paramilitary training in the living room of a fellow dissident. Hiding their identities with hoods to ensure none of them can betray their revolutionary comrades, these intellectuals awkwardly learn skills essential to guerilla warfare, such as proper crawling and rifle cleaning methods, in the hopes of overturning a corrupt regime, all while grappling with the chilling realities of staging a violent insurgency.Calderón has made a name for himself with plays grounded in times of violent turmoil and political upheaval, using dangerous and unstable settings as a jumping off point for larger universal themes, and Escuela sits well within this established style while taking it somewhere new. Instead of the surrounding violence haunting the onstage proceedings, as it did in Calderón’s first play Neva, it is brought to the forefront in Escuela as we watch its characters preparing to engage with it. In an interview with FringeArts, regarding the political implications of his new work Calderón asserted, “Politics is a combination of emotions and rationality, and that is what Escuela tries to convey and push to its limit.”

Kicking off February is a multimedia performance from composer Daniel Wohl, who previously graced the FringeArts stage last year with a multi media performance of his album Corps Exquis. This time around the Paris-born composer will be presenting his latest full-length album, Holographic, accompanied by an excellent line up of musicians and video art projections from LA-based artist Daniel Schwarz.

Wohl has garnered acclaim for works in which the acoustic and electronic blend into each other: a resonating snare drum becomes a low unnerving drone, percussion and electronic noise crash into a joyous cacophony, and synthetic pulsations elevate the steady bowing of strings to a higher plane. The result is immersive, slyly disorienting music that seeks to close the gap between the chamber groups of concert halls and academia , and electronic experimentalists pushing sonic boundaries in basements and warehouses. This is a one night only event, so mark your calendar for February 5.

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The Dance Apocalypse: Gabrielle and Nicole do whatever it takes

Posted April 2nd, 2014

gandNandcatsOn Monday, April 7 at 7pm, Gabrielle Revlock and Nicole Bindler will unleash The Dance Apocalypse at FringeArts. Part of the FringeArts Scratch Night series, it’s a free show! (But you need to RSVP.) They describe it as “a genre-defying creative collaboration about two female artists in a spectacle-driven world” and a “heart wrenching end-of-the-world love story that takes place within the context of a director’s commentary, a sensationalist talk show, and a million-dollar kickstarter campaign for a feature length film.” That film, Chicken Fight, indeed has a real kickstarter goal of a million dollars. The performance has also been preceded by an eight-week series of free CardioCreativity dance classes that the two have been running at Mt. Vernon Dance Space. We caught up with Gabrielle and Nicole, who decided to respond in unison.

FringeArts: How did you come up with the title, The Dance Apocalypse?

Gabrielle Revlock and Nicole Bindler: The title came from Craig Peterson, former director of the FringeArts LAB. We invited him to appear in our panel discussion that was embedded in the middle of our last piece, I made this for you. In the panel he said that the state of dance is dismal and that we appeared desperate to do anything to capture the audience’s attention. He said, “This is the dance apocalypse.” When we heard those words we knew that would be the title of our next piece.

The Dance Apocalypse explores the issues that arose in I made this for you: spectacle, competition, and arts funding. Framed as a director’s commentary, The Dance Apocalypse digs deeper into the conundrums of creative collaboration and the blurred line between real life and performance. The piece spills out into our personal lives and social media. We have gotten married, had public arguments, co-taught classes, and fielded many audience responses—both criticism and delight—in the controversial, feminist provocations that we have unleashed prior to the April 7th performance.

CardioCreativity_JulieanneHarris 2FringeArts: How do the CardioCreativity classes play into the The Dance Apocalypse

Gabrielle and Nicole: The classes have been an integral part of our process. We designed them as a strategy to give participatory dance enthusiasts a window into dance as a performing art. They are essentially a performance disguised as a movement class. We do somatic work and cardio, but also improvisation, composition, and performance practice. In this way we are training them to see each other in the space, in time, in relation to an audience. They are developing more tools to watch and appreciate dance. In addition, many of them will play a crucial role in the performance on April 7th.

The Dance Apocalypse exists beyond the borders of the stage. We consider the CardioCreativity classes to be as much a part of the performance as what you will see on April 7th. The classes have been an opportunity for us to play with our ideas of the performance/real life gray scale. It has also been filled with laughter and joy. We leave each class feeling inspired and energized. We see people building strong bonds, developing trust in each other, and taking embodied risks.

FringeArts: Can you take us through what the show is going to be?

Gabrielle and Nicole: Shenanigans
Prizes
Speed dating
Youtube videos
Fighting
Heartfelt confessions
Animals
Glitter
Jumps and tricks
Tears
Grand entrances
Autograph signing
The opportunity to meet the love of your life

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Le Grand Rehearsals

Posted September 9th, 2012

In addition to talking with rehearsal director Sarah Gladwin Camp earlier in the week, blog contributor Marina Kec also chatted up Le Grand Continental rehearsal assistants Jacelyn Biondo, Gabrielle Revlock, and Rhonda Moore about working with the motley crew of awesome people who will seize the Art Museum steps with dance one more time today, at 4:00 pm. After the jump.

Nick G’s daughter, rapt by “Le Grand Continental.”

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