Stephen Petronio has honed a unique language of movement that speaks to the intuitive and complex possibilities of the body. His multidisciplinary work is informed by his postmodern dance training, including his work with Steve Paxton and as the first male dancer of the Trisha Brown Dance Company. Over the past 30 years, Petronio has created over 35 works for his company and has been commissioned by some of the most prestigious modern and ballet companies around the world. Petronio is the recipient of a Guggenheim Fellowship, a New York Dance and Performance “Bessie” Award, and a Doris Duke Performing Artist Award. In 2016, Petronio collaborated with visual artist Janine Antoni and modern dance pioneer Anna Halprin on the Center-funded performance-as-exhibition, Ally, at The Fabric Workshop and Museum.
What inspires our imaginations and catalyzes our creativity? As we bid farewell to 2014, we asked members of our cultural community to share something that inspired them this year.
In perceiving the “just this”-ness, Group Motion Dance Company shares a preview of a new work by choreographer Susan Rethorst.
Acclaimed French choreographer and experimental dancer Boris Charmatz visited Philadelphia for a residency and public presentation of his performance piece for 24 dancers, Levée des conflits (Suspension of conflicts), at Drexel’s Mandell Theater, co-presented by FringeArts, in combination with a series of interpretive programs.
FringeArts presents South African theater artist Brett Bailey’s adaptation of Verdi’s opera Macbeth, performed by the performance group Third World Bunfight.
Artistic Director Nichole Canuso likes to explore “dances that celebrate the awkwardness, humor and surprise in human experience.”
Poet, critic, and teacher Claudia La Rocco addresses the question “Should we dance in museums?” She argues that dance must be “contextualized in a larger curatorial framework.”
In the fall of 2011, Pig Iron Theatre Company embarked on a new chapter in its history as an experimental theater collaborative, launching the Pig Iron School for Advanced Performance Training.
New Paradise Laboratories is an experimental performance ensemble that explores radical means to bend conventional ideas of theater.
Daniel Heyman’s (Pew Fellow, 2009) works on paper capture the images and words of Iraqi torture victims from facilities like Abu Ghraib.
Pew Fellow Robert Matthews’ drawings are representational with varying degrees of narrative. They are not illustrations but rather investigations of unsolvable questions.
Edmunds, executive and artistic director of the Center for the Art of Performance at UCLA, is The Pew Center for Arts & Heritage’s first visiting scholar. Paula Marincola, the Center’s executive director, spoke with her about the opportunity.
Experimental theater artist Romeo Castellucci talks about what he calls the “monarchy of the viewer.”