EVIDENCE OF A PIECE THAT HAPPENED – TIME OVER DISTANCE OVER TIME
Installation at Live Collision Festival in Project Arts Centre
Dec 3rd 2016
A durational participatory dance, film and digital technology installation.
Time Over Distance Over Time was presented by Liz Roche Company at this years' Dublin Dance Festival. The piece was created with a cast and creative team living between Australia and Ireland and sought to capture experiences of emigration and the sense of fragmentation it causes as the full physicality of a loved one is often reduced to a voice down the phone or image on a screen.
The piece is co-produced with Queensland University of Technology Brisbane and co-presented by Live Collision Festival who asked the company to present elements of the piece and the process involved in making a work of this nature for their most recent festival edition as part of the Project 50 celebration programme.
Liz Roche working with collaborating artists, videographer Luca Truffarelli, interactive visual designer Jared Donovan, composer Ray Harman and dancers Justine Cooper, Kevin Coquelard and Sarah Ryan presented these re-imagined elements over three hours in Project Arts Centre's Space Upstairs, inviting the audience to experience and participate in the work as it is now; abstracted from its original version while exploring the new meanings that this abstraction creates. Luca Truffarelli has re-developed the film elements of the original piece to include footage from Rhizomes, a short film by made during the making of Time Over Distance Over Time by Liz Roche and Luca Truffarelli with members of Dublin Youth Theatre.
BASTARD AMBER Irish Tour
Town Hall Theatre, Galway, Nov 15th 8pm BOOK NOW>>
Lyric Theatre, Belfast, Nov 18th 7:45pm BOOK NOW >>
An Grianan Theatre, Letterkenny, Nov 29th 8pm BOOK NOW >>
Lime Tree Theatre, Limerick Dec 2nd 8pm BOOK NOW >>
BASTARD AMBER, a ground-breaking dance production that draws inspiration from two of the great Irish artists of the modern age, WB Yeats and Patrick Scott by the internationally renowned Liz Roche Company.
Co-commissioned by the Abbey Theatre, Dublin Dance Festival and Kilkenny Arts Festival the work's premiere at Dublin Dance Festival in May 2015 was a historic moment for dance in Ireland, the first time ever for an Irish choreographer to be commissioned to create a full length dance work for the main stage of Ireland's National Theatre.
"Bastard Amber is a stunning and beautiful production, worthy of its historic commission and a fitting tribute to one of Ireland's foremost choreographers. Not to be missed." Examiner.com
BASTARD AMBER was a resounding success, receiving fantastic reviews, standing ovations and was seen in the Abbey by President Higgins and his wife Sabine Higgins.
Following on from the Abbey performances Bastard Amber has performed at the Kilkenny Arts Festival and most recently at the prestigious Festival Instances at Espace des Arts, Chalon-Sur-Saone, France. Now with the support of an Arts Council Touring and Dissemination Award the company will tour the work to four great venues in Galway, Belfast, Letterkenny and Limerick later this year.
Choreographed and conceived by Liz Roche, the work includes a cast of eight highly respected irish and international dancers performing alongside four renowned musicians from traditional, rock and classical backgrounds, an exceptional set, lighting and costume design from celebrated designers Paul Wills, Lee Curran and Catherine Fay and a specially commissioned score by composer Ray Harman.
Tour funded by the Arts Council and the Arts Council of Northern Ireland
SUMMER / AUTUMN 2016
Liz Roche's New Work WRONGHEADED
The company is back into the creative process again as rehearsals and filming have all begun on our new work Wrongheaded.
In Wrongheaded, choreographer Liz Roche brings together the fearless spoken word poetry of Elaine Feeney, the exquisite work of both film director Mary Wycherley and lighting designer Sinead Wallace and electrifying performances by dancers Sarah Cerneaux and Justine Cooper. All are gathered together in this intense mix of emotions and physicality to highlight the desperation and frustration that many Irish women feel today when it comes to the choices available to them regarding their bodies.
We first show the work at internationale tanzmesse nrw in Tanzhaus Dusseldorf on September 1st at 3.30pm in Studio 2. We are delighted to be bringing the work to Tanzmesse this year with the support of Culture Ireland. MORE INFO >>
Wrongheaded then performs September 11th - 16th at Tiger Dublin Fringe Festival in Project Arts Centre at 7pm. We are sharing the evening with Hope Hunt by Oona Doherty.
WRONGHEADED AT TIGER DUBLIN FRINGE FESTIVAL SEPT 11th- 16th Nightly 7pm | Tickets €16/€14/€11
The piece will also perform at Tipperary Dance Platform in the Source Theatre Thurles on Thursday 13th October at 8pm and Bias will perform in the same festival on Friday 14th October at Tipperary Excel at 7.30pm. Both pieces will perform again at Dance Limerick in St.Johns Church Limerick on Thursday 20th October at 8pm.
Time Over Distance Over Time & Bias
"Moving.....compelling"..... "a delight for the eye"....."wild, relentless energy"... "filled with hope, pain, longing and memory"..... "beautifully rendered"..... "flawlessly executed"
.......some of the ways our performances at the Dublin Dance Festival 2016 were described by audiences and reviewers. The company presented two new works, the first, Time Over Distance Over Time by Liz Roche, which explored our personal experiences of migration and our reliance on digital technology to bridge the gap. The second piece, Bias, choreographed and danced by the company's associate artist Katherine O'Malley and her collaborating artists filmmaker Mark Linnane and sound designer Daragh Dukes explored the notion of her biases and how they influence her daily decisions.
Following on from the Dublin Dance Festival we performed Time Over Distance Over Time at FORM Dance Projects ' Dance Bites Festival in Sydney and at Brisbane Powerhouse in June as part of the Culture Ireland I Am Ireland Centenary Programme.
We were delighted with the response to the performances....
REVIEWS & PRESS
Working with filmaker Luca Truffarelli and members of Dublin Youth Theatre, in a special project between Liz Roche Company and DYT, we have just finished the edit on a new short film Rhizomes that will be presented later on this year .....watch this space.www.dublinyouththeatre.com
Rosemary Butcher's Six Frames Memories of Two Women
Rosemary Butcher 4/2/47 - 14/7/16
Choreographer Rosemary Butcher died on 14th July. Rosemary created Six Frames - Memories of Two Women for Liz Roche Company (then Rex Levitates) in 2005. We worked on the piece over a number of months and in that time our eyes were opened to the rigorous and unyielding process she engaged in around her work. The subject matter was tough and traumatic at times but she never backed down from the reality of facing that head on. All you could do was try and keep up with her. That experience, which took us from Dublin to Munich to London and back, and all the way up until the piece premiered in August 2005 in Project Arts Centre imprinted hugely on our dancing lives.
Part of a shared evening of dance with Liz Roche's Time Over Distance Over Time for Dublin Dance Festival 2016 at The Complex Little Green St. Dublin 1 May 18th - 21st. More info>>
To book go to DUBLIN DANCE FESTIVAL
Katherine O'Malley Photo by Mark Linane
Every day we make split second judgements, and we deal with the consequences. What logic underlies these unconscious decisions? What pattern are we repeating? What cognitive short-cut are we taking?
Do we suffer by taking the path of least resistance taught to us by our experiences? Do we benefit from listening to the clamour of voices who want to influence us? We are composed of our biases, for better or for worse. Should we trust these inclinations?
Bias is a collaborative work between dance artist Katherine O'Malley, composer Daragh Dukes, videographer Mark Linane, and visual artist Fergus Byrne. Our bias is a diagonal line across a dialogue of curves, a partial perspective, an examination of our biases and an uncovering - an escape - to new biases.
Choreographer/Performer: Katherine O’Malley
Music: Daragh Dukes
Film: Mark Linnane
Dramaturg: Fergus Byrne
Lighting Design: Aideen Malone
Costume Design: Saileóg O’Halloran
Katherine O'Malley Photo by Mark Linane
The GPO | April 2016
Presented by Dublin Dance FestivalNew dance solos by Ireland’s female choreographers in response to the 1916 Proclamation
Embodied: a trail of six female dance solos:
Her Supreme Hour by Jessie Keenan
Years of fitting into a patriarchal structure have taken its toll on the female body. This solo work looks at how women are forced to adjust and change, physically and vocally, in order to be seen and heard in our male dominated society.
Fógraím / I Proclaim by Sibéal Davitt
Through the medium of Morse code and movement, Fógraím / I Proclaim uses the human body to proclaim the key ideas and ideals of Forógra na hÉireann. This piece draws upon elements of Irish traditional 'sean-nós' and contemporary dance.
Walking Pale by Jessica Kennedy & Megan Kennedy (junk ensemble)
Exploring rebellion and failure, Walking Pale investigates the idea of the ‘radical female’ and how women are perceived in Ireland. This sits alongside the concept of new Ireland - of what the country represents now, and what it was expected to be.
The 27th Manifesto by Liv O'Donoghue
In reclaiming the words of our past, we uncover a vision for our future. Drawing on pivotal speeches by women through time, this work is a retrospective of the forgotten female voice in history.
The endless story of trying to make new out of a single self by Iseli-Chiodi Dance Company (Jazmín Chiodi)
Standing on a barricade, a woman internalises the battle she faces at the crossroads of change. This dance and visual arts experience observes the influence of memory and personal imprint on our concept of self history and social history.
160 Voices by Emma O’Kane
As a woman in Ireland, what are you willing to risk to improve your life and have your voice heard in 2016? Responses from an anonymous survey, 160 Voices is a microcosm of the wishes of women in Ireland today.
Embodied at the GPO - The Examiner April 21st 2016
This year’s Dublin Dance Festival kicks off a month ahead of its main schedule with a unique collaborative project commissioned by the newly opened GPO Witness History Centre. Directed by Liz Roche, ‘Embodied’ at the GPO features six dance solos choreographed and, in most cases, performed by six of the foremost female choreographers based in Ireland today. With the GPO providing history and context as well as location, location, location, 'Embodied' responds by exploring the role of women as initiators both during and since 1916 and sets out to interrogate, and respond to, the male voiced Proclamation of Irish independence.
Under Liz Roche’s astute direction ‘Embodied’ at the GPO’s solo pieces are assembled into a cohesive circularity that sets up‘Embodied’s’ journey and brings it all home. Beginning with Jessie Keenan’s ‘Her Supreme Hour’ and Liv O’Donoghue’s performance art based ‘The 27th Manifesto,’ both performances are heavily dominated by text as both performers set about reclaiming the female voice from the language of men.
In Sibéal Davitt’s excellent ‘Fógraím/I Proclaim’ text gives way to the dominance of the body as words are deconstructed into the dots and dashes of Morse code. Fusing sean-nós with contemporary dance Davitt lets loose, delivering a raw, rhythmic, primal yet playful performance that is searingly powerful and a sheer joy to behold. The body again dominates in Jasmin Chiodí’s delightful ‘The endless story of trying to make new out of a single self.’ Visually arresting, the Rapunzel like Chiodí’s attempts to balance on the barricades again incorporates much from performance art, with words giving way to sound and movement in a performance wonderfully moving in its struggle and simplicity.
Photographer and visual artist Luca Truffarelli’s hypnotic video, ‘Here and through’ gently suggests the path of the soul as it endlessly journeys through the past, present and future. This is immediately followed by Junk Ensemble’s stunning ‘Walking Pale.’ Here choreographers Megan and Jessica Kennedy collaborate with the formidable Olwen Fouéré to craft a simple, yet profoundly moving piece. Here the privileged position of the silent spectator is called into question as they look down from above on the warrior like Fouéré, like some gladiatorial Sisyphus trapped in her cage, greasing her shoulders before dragging her spoon laden cloak endlessly through the gravel.
Roche closes ‘Embodied’s’ circle by reintroducing text in Emma O’ Kane’s wonderfully understated, ‘160 Voices.’ Here women find their voices, along with the rest of humanity, all of whom give voice to their collective hopes, fears, concerns and aspirations which O’Kane compliments with subtle choreographic expressions as body and text become one.
With ‘Embodied’ the Dublin Dance Festival 2016, has nailed its colours firmly to the mast. As well as successfully marking the recent opening of the GPO Witness History Centre, ‘Embodied’ declares that this year’s Dublin Dance Festival has set its standards extremely high indeed. Powerful, haunting, and jaw droppingly good at times, ‘Embodied’s’ only real failing lies in the shortness of its run. Beg, borrow or steal a ticket. Or pray it comes around again. For this is a production not to be missed.
Liz Roche Company is delighted to have received funding from Culture Ireland's 2016 Centenary Programme to bring their new work Time over Distance Over Time to Brisbane Powerhouse and Dance Bites Festival Sydney in June 2016. The new piece will premiere in the Dublin Dance Festival 2016, co-presented byLive Collision Festival with support from the Arts Council, The Australia Council and Queensland University of Technology Brisbane.