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Challenging ideas of coherent identity, universal value and truth as not only impossible but also duplicitous, postmodernism explores how meaning is always multiple and contingent on contexts.
Active Breath Somatic Practice – the vital relationship of the breath in performance practice, Patricia Bardi, Lecture-Presentation at the Breath as a Tool in Performance Conference– National Centre for the Performing Arts.
Gavin Krastin is a choreographer and performance artist. He
describes himself as “a gay, white, South African of a certain privilege and
class in relation to other bodies.” He suggests that BODY/BAG deals with race
and is intended to “expose and speak to the larger politics that affect us
all.”
This video is documentation of an exercise with 3rd year graduate actors at
the UC Irvine Actor-Training program, speaking a monologue while contacting with
a silent partner. At a moment of heightened activity, the silent
partner is removed, and the resulting delivery of the monologue is focused and
intensely communicated.
The athleticism and sensitivity of the contact created a culture of
expressivity. Tenderness as well as rage and challenge emerged in the contact
session and remained present in the solo monologue. So, the complexities of
emotion that were embodied metaphorically and rhythmically in the extreme lifts
and rolls and balances of the partnering could be seen as an emotional
“rehearsal” for the solo performance. But once the partner was removed, the
speaker had to reach out to us, and address each deeply felt idea to the
audience in the room.
No longer in a contact with the literal “other,” we, the audience, now become
the necessary focus.
Patricia Bardi and Arthur Brooks (music: trumpet) create an improvised performance exploring a nuanced and textured expressive language investigating the relationships among embodied sound texture, music movement, dance, voice, and text.
Patricia Bardi and Arthur Brooks create an improvised performance in 1998 exploring a nuanced and textured expressive language investigating the relationships among embodied sound texture, music movement, dance, voice, and text.
The full performance of Light Becomes Her is a dynamic collage of
voice, dance, movement, and character which looks at one woman and the multiple
aspects of the different women living inside her.
The excerpt of Light Becomes Her is a dynamic collage of voice, dance, movement, and character which looks at one woman and the multiple aspects of the different women living inside her.
Pangaean Dreams is a multimedia piece which leads the audience on a shamanic journey back 250 million years to the time when the earth’s continents were all fused into one.
Pin Drop Echoes Through shows Patricia Bardi and pianist Alex Maguire creating a performance that build bridges and dismantle boundaries between movement, dance, voice, text, and music.
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.
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.
The Organs’ Presence in Voice, Movement and Expression Workshop, Patricia Bardi holds a workshop on combining somatic practice and improvisation in integrating voice and movement in a creative process.
Inthis lively performance, Patricia Bardi shares some of her discoveries and insights that have developed over many years of independent research and performance practice of Vocal Dance. Performed at the SDNO, School for New Dance Development, Amsterdam, 1995.
Contact improvisation is a form of dance improvisation based on energy and weight
exchange, incorporating elements of aikido, jitterbugging, child’s play, and
tumbling