Performance
Movement 12
present...
Something
At the Pavilion Theatre, New Rd, Brighton.
Sunday 16th May 2010 at 8pm.
SOLD OUT!!!
Movement 12 curate an evening of excerpts and inserts, works in progress and off the cuff experiments.
This is an opportunity to sample live performance, installation and film works from some of the most intriguing dance makers around.
The evening includes;
· Passing Strange and Wonderful - a duet choreographed by Ben Wright for his company bgroup and performed by Keir Patrick and Lise Manavit.
· Smorgasbord - series of solo's choreographed and performed by Virginia Farman.
· A Readiness – a duet in progress performed by Abi Mortimer and Carrie Whittaker of Lila Dance.
· Myocyte - a solo created and performed by Miriam King.
· A new film by Marisa Zanotti.
· Musical piece n. 3 - a solo created and performed by Augusto Corrieri.
· Small Talk - a new solo choreographed by Wendy Houstoun for Antonia Grove of Probe.
· An Apportionment of Light - an installation by CiCi Blumstein
· Stand In - a film by Becky Edmunds with sound by Scott Smith.
· From Now On - a solo, created as it's performed, by Charlie Morrissey.
· The Clearing - a new duet choreographed by Charles Linehan. Created with and performed by Grieg Cooke and Rahel Vonmoos.
Past Performances...
Our Launch and Landing events hosted, at different times, by Liz Aggiss and Ben Wright have included performances, films and installations from:
Becky Edmunds, Augusto Corrieri, Maria Lloyd, Underground 7, Scott Smith, Charlie Morrissey, Andrew Harwood, Charles Linehan, Probe, B Group, Lila, Claudia Kappenburg, Rajyashree Marisa Zanotti, CiCi Blumstein, Ramamurthi, Miriam King, Virginia Farman, Magali Charrier, Lucy Cash, Yael Flexer, Loop and others.

Lisa Nelson and Scott Smith
perform
GO

At the Basement, Kensington St, Brighton.
6th March - 8pm.
Produced in cooperation with Contact Collaborations, Inc.
After a Tuning Score proposition
by Lisa Nelson
With recorded musics by Scott Smith
A note about the Tuning Score:
Essentially a communication format, the tools of the tuning score make apparent the ways the players/performers sense and make sense of movement, exposing their opinions and initiating a dialogue about space, time, action, and the desire to compose experience. The movement is unknown to the performers until the moment of action.
"Within an improvisational framework, I've looked for communication systems that could encompass both the choreographic craft and the experience of dancing.
In tuning scores, I discovered a tool to make visible the space between the arbitrary and the inevitable, an improvisational dilemma for both observer and performer. [LN]"

LISA NELSON and SCOTT SMITH have been collaborating since the early '90s, exploring the improvisational territory of Tuning Scores first with the group Image Lab, an ensemble of
choreographer/improvisors which included K.J. Holmes and Karen Nelson. Throughout the '90s, Image Lab brought their work to the public through an "Observatory," a series of site-specific performances which invited the audience to return for multiple viewings. These residencies often included the participation of local artists of many disciplines. Observatories were presented in museums and art centers on both coasts of the U.S. and Canada, in Germany, the U.K. and China.
In 2001, Nelson and Smith created the duet format of GO. They have presented GO in Liverpool, Bratislava (Slovakia), Berlin and France and the US.

Autumn 2007
here now
an improvisational dance performance

Performed by
Kirstie Simson, Christian Burns and Charlie Morrissey.
Sound played live by Scott Smith.
Friday 21st December
7.30pm
At The Nightingale Theatre, Surrey Street, Brighton.
This performance will be composed in real time before the eyes of the audience, by four highly acclaimed international improvisers. All of them have taught and performed extensively across the globe with many of the seminal figures in the development of improvisational performance.
"one of the legends of British Dance" Time Out on Kirstie Simson
"a force of nature" The New York Times on Kirstie Simson