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Posts Tagged ‘Performance Garage’

Location, Location, Location: Performance Garage

Posted September 2nd, 2018

Venue: Performance Garage

Neighborhood: Spring Garden, North Philly

2018 Fringe shows: Moving (“Dancefusion & Sokolow Theatre/Dance Ensemble come together to present three works by legendary choreographer Anna Sokolow”), KCBC X KCBCII (“The Klassic Contemporary Ballet Company and KCBCII perform in their second annual Fringe Festival”), Church & State (The AJ Harper Dance Project and a. dance theatre create innovative, thought-provoking works that touch on the sacred and political dynamic in today’s society), Ruckus Dance: Knockout (in guide, Baby’s First Time to Philly, “a performance from the Boston-based group Ruckus Dance featuring guest artists Subject:Matter”_.

Description: Originally a nineteenth-century horse stable that served “Millionaires Row” on Spring Garden Street, later converted to an automobile garage. Opened as a performance space and host of dance classes in 2000 and underwent a massive $2million renovation in 2016/17. Currently looking for capital funds for Phase II of the project.

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2017 Festival Spotlight: Apocalyptic Visions

Posted September 2nd, 2017

In these turbulent times, artists in the Fringe Festival are using their mediums to present worst case scenarios for our unpredictable future. Check out the horrifying projections of reality coming to our city at this year’s Fringe!

 

AMERICANA PSYCHOBABBLE @ Berks Warehouse
Alexandra Tatarsky

A delirious anti-narrative of American emptiness, violence, and nonsense—part exorcism and part enema! With styrofoam wings, Xmas lights, and ketchup. “Phyllis Diller meets Artaud!” “Like Kellyanne Conway woke up from a coma after overdosing on sleeping pills and reading too much Gertrude Stein.” AMERICANA PSYCHOBABBLE exists somewhere between irrational healing ceremony, sad clown song, dance in the abyss, and desperate diatribe to take back ecstatic nonsense as an act of resistance. More info and tickets here.

 

Every Day APOCALYPSE! @ The Collective
Lone Brick Theatre Company

The death rays and nukes of outrageous fortune are aimed squarely at a struggling theater group when an irate son of God condemns the company to face a new apocalyptic scenario every day, for eternity. Can they learn to get along in order to save the world, not to mention the world’s worst production of Hamlet? More info and tickets here.

 

GATZ @ Philadelphia Shakespeare Theatre
Harrison Stengle

Philadelphia, year 2025, the tempo of the city had changed sharply. The buildings were higher, the parties were bigger, the morals were looser and the kush was cheaper, the restlessness approached hysteria. From the makers of the off-off Broadway show Sword of the Unicorn comes GATZ a Great Gatsby modernist parody. More info and tickets here.

 

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Rare Opportunity to Take Gaga Workshop and Classes

Posted July 17th, 2017

A three-day Gaga Workshop, which includes a class and repertoire, open to professional dancers and dance students ages 16-and-older, is coming to the Performance Garage (1515 Brandywine Street) in Philadelphia, August 2–4. There will also be Open Gaga People Classes those three days, which are open to the general public (16-and-older), without the necessity of previous experience. This is only the second time that Gaga classes have ever been offered in Philadelphia.

Presented by Automatic Arts, the workshop and classes are led by Gaga Master Teacher, Or Meir Schraiber, who is a dancer in Ohad Naharin’s internationally renowned Batsheva Dance Company. Gaga is a movement language which Ohad Naharin, one of the world’s preeminent contemporary choreographers, developed over the course of many years and which is applied in daily practice and exercises by the Batsheva Dance Company members. The language of Gaga originated from the belief in the healing, dynamic, ever-changing power of movement. As explained by Naharin, “We explore multi-dimensional movement, we enjoy the burning sensation in our muscles, we are aware of our explosive power and sometimes we use it.  We change our movement habits by finding new ones, we can be calm and alert at once. We become available . . .”

The Gaga Workshop and Classes are part of a new program by Automatic Arts to bring one high quality professional dance workshop to Philadelphia each summer.

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Exposure: work in progress showing about living with disability

Posted May 19th, 2016

“I always had an idea of it in the back of my head. I’ve been giving lectures and talks about my life since I was about three months old. My parents would take me around. And so it’s always been kind of a part of my life,” says Mathew Purinton of his new play Exposure, which he is presenting a 40-minute work-in-progress showing at the Performance Garage on Friday, May 20th and Saturday May 21st at 7:30pm.

Purinton was born with the rare genetic disorder of TAR syndrome, and Exposure explores his life story. This weekend’s live performance is a the culmination of ten weeks of rehearsal working with a number of Pig Iron School trained performers and collaborators. In rehearsal, artists of mixed physical abilities created scenes through a series of improvisational exercises and use dance, movement, and acrobatics as a jumping-off point for telling the physical and visceral stories of Purinton’s life.

During the rehearsal process the performers explored different ways to immerse the audience in the performance and give them an opportunity to experience what it’s like to live with a disability.

Instead of writing a traditional memoir-type play, Purinton was interested in developing the work using devised theater methods and developing a movement vocabulary from various disciplines that would also be integral to to work. Explains co-producer Nick Jonczak, “In 2015, Matt Purinton and Kermit Cole approached Pig Iron Theatre Company co-artistic director Quinn Bauriedel about creating a play based on the extraordinary experiences of Matt’s life. Quinn introduced Matt and Kermit to Pig Iron School for Advanced Performance Training 2015 alumna Michaela Moore who joined the project as director.” In turn, that led to the inclusion of a number of other Pig Iron School alumni in the productions including Caitlin Antram, Giovany Barrera, Ben Grinberg, Lauren Harries, Bronwyn Sims, and  Alice Yorke.

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Headlong’s DESIRE Arrives In May: A Quick Chat With Andrew Simonet

Posted April 5th, 2012

Andrew Simonet pauses before answering.

Headlong Dance Theater returns to the stage this May with a new show, DESIRE, directed by K. Elizabeth Stevens, and performed and co-conceived by Headlong co-directors Amy Smith, Andrew Simonet, and David Brick. The piece will be at the Performance Garage, 1515 Brandywine Street, one of my favorite places, May 4 and 5 at 8pm and May 6 at 3pm. A reception will follow the May 5 performance. We caught up with Andrew and had him give us the lowdown on DESIRE.

Live Arts: How did this project come about?

Andrew Simonet: We have been looking to get back on stage together. In the last decade, one of us has usually sat out to direct—or at least jumped in and out. There is an amazing clarity and connection we have when we are in the studio or on stage together. But when you run a company together your focus is on a lot of different things: the production, the design, the budget, the PR. Elizabeth, my wife, came to us and proposed directing us in a trio and it felt perfect. A chance to work together, create together, and share the stage—with someone else running the show!

LA: You, and your co-directors Amy Smith and David Brick are performing together. It seems like you’ve all been getting back on stage more lately. Why so, and what are you learning by doing so now?

AS: A lot of things can pull us away from performing. In 2008-2009, we did a project with Tere O’Connor, and none of us could be in the piece, so we spent two years working with our six dancers, and not performing. That process opened up a lot of possibilities in our work and our collaboration. We have new ways of developing and analyzing work. So being together as performers has a beautiful familiarity and a sense that there are new places for us to go together.

LA: How does the experience of performing differ now than from, say, 15 years ago?

AS: I can’t speak for everybody. But here’s what I would say: it’s clear. Like water. There is immediate recognition and understanding. You know where each person is going. You know how to say yes, and how and when to contradict.

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