Practitioners

Goat Island

Practitioner

Goat Island was a Chicago-based collaborative performance group that began in 1987. They made nine intimate, low-tech and intensely physical performance works that toured nationally and internationally. Lin Hixson was the group’s director. Performer/collaborators included Matthew Goulish, the brothers Timothy McCain and Greg McCain (1987–95), Joan Dickinson (1989–91), Karen Christopher (1991–2009), Bryan Saner (1995–2009), Mark Jeffery (1996–2009), and Litó Walkey (2001–9). The company frequently taught classes and workshops and presented collaboratively composed lectures, and they made four short films with the UK director Lucy Cash. Their eighth piece When Will the September Roses Bloom? Last night Was Only a Comedy appeared in the Venice Biennale 37th International Theatre Festival. Routledge published Small Acts of Repair: Performance, Ecology, and Goat Island, edited by Stephen Bottoms and Matthew Goulish, in 2007, a volume that collects much of the company’s writing. The company decided to end by making their final performance, The Lastmaker. They presented the last performances on 27 and 28 February 2009 at the University of North Carolina, Chapel Hill. Matthew Goulish

Image: Goat Island’s The Lastmaker. Photograph © Hugo Glendinning.

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Soldier, Child, Tortured Man (1989) was Goat Island’s first performance. It considered the physical and mental conditioning that militarises first the individual and then the social structure.
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The Lastmaker (2007) was Goat Island’s ninth and final performance, composed by the group with ending in mind. The piece took its inspiration from the historical trajectory of the Hagia Sophia.
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Devising is a method of making performance that is not dominated by text, and includes the collaborative participation of the whole creative company in all stages and aspects of the creative process.
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While it can describe theatre and performance that incorporates dance and music, multimedia performance more commonly specifies work that mixes live performance with machines and/or mediated forms.
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Postmodern dance tends to be divided between those choreographers who experiment formalistically with constructed and performed movement, and those who are influenced by modernist developments.