ALISON CURTIS-JONES
Alison Curtis-Jones, Directrice artistique du Summit Dance Theatre, artiste danseuse reconnue internationalement est l'éminente experte des œuvres de danse-théâtre de Rudolf Laban (œuvres des années 1913 à 1928). Ali est spécialiste en Choréologie et enseigne la Faculté de Danse du Trinity Laban Conservatoire of Musique et de Danse, Londres.
Parmi les re-créations des œuvres de Laban réalisées par Ali se trouvent: Nacht (1927), recréée à Londres en 2010, 2011 et en 2014 avec le Summit Dance Theatre, à Ascona- Suisse- pour le Laban Event en 2013; Green Clowns (Die Grunen Clowns, 1928) avec Transitions Dance Company pour The Laban International Conference: The Dynamic Body in Space, 2009 et avec les danseurs du Trinity Laban en 2008; Ali est commissionnée pour recréer Green Clowns en 2014, pour commémorer le Centenaire de la Première Guerre Mondiale et pour le Mémorial d’Auschwitz au Royaume Uni, en 2015.
SIGURD LEEDER ASS.
We are a group of graduates of the Sigurd Leeder School of Dance. We are united by the experience of how Leeder introduced us to the art of dance through his self-developed dance pedagogy and trained us as independent artists.
We are united by the experience of a great dancer, dance creator and dance teacher, who gave us insight into his previous work, his personal conception of dance, dance performance and dance pedagogy, which he had developed over a long artistic life.
We became witnesses to creative processes, for until the end Leeder created new choreographic works and developed new artistic etudes in the classroom. He trained us in various periods of his teaching (1956-1980). Most of us met Leeder in Herisau, the last location of his activity (1964-1980).
The members of our group are:
Evelyn Rigotti, Romana Frasson,
Rut Ackermann, Jacqueline Keller-Hoffmann, Annamaria Studer, Christine von Mentlen, Emilio Schlepfer and Dr. Ann Hutchinson-Guest.
CLARE LIDBURY
Clare has worked in several Higher Education Institutions in which her teaching has ranged from modules in dance technique, dance history, and musical theatre to modules in German Expressionism, dance from culture to culture, and health and well-being.
She has performed in the UK and Europe, choreographed for plays and operas and been part of the preservation process of the Kurt Jooss repertoire through work with dance companies in the USA and Europe.
CRISTINA CASTRILLO
Over four decades of dedication to professional theatre : from the foundation, in the seventies, of Libre Teatro Libre, one of the most famous Latin American companies in Argentina to the birth of the "Teatro delle Radici" in Switzerland in 1980.
The versality of her work (as an actress, a teacher and a director) has led her to put into practice the fundamental aspects of her approach, first on herself and then with numerous actors, the fundamental aspects of her approach to theater.
She created about thirty performances and held performances and workshops for actors in 38 countries, from Europe to Latin America, Asia, Africa to the Middle East and Australia. She founded and directed the “Theatre Lab School for Theatrical training and Research (1990), which annually calls actors from different backgrounds and cultures. She edited the book Attore-Autore (Actor-Author),
I Sentieri dell’Acqua, (The Path of the Water), Trilogia dell’assenza, (Trilogy of absence) e Voci peregrine containing almost all the texts of the performances created. In 2014 she received the Swiss Theater Award, awarded by the Federal Office of Culture.
MONIQUE KROEPFLI
est une artiste free-lance en danse (interpré-tation et chorégraphie) et pédagogue (Danse à l' Ecole, Contact-Improvisation pour adultes). Sa recherche chorégraphique tourne continuellement autour de son intérêt pour la choréologie et l'histoire de la danse. Elle enseigne la danse dans les écoles (Maternelles et Collèges d'Enseignement Général) dans la région de Bâle (Suisse) depuis 1996. Entre 1996-2007 elle fut conférencière en "Gymnastik & Tanz" au département P.E. de l'Université de Bâle.
Formée à LABAN/londres (Dipl. PDDS, MA in Dance Studies), qui incluait sa thèse Le Rôle du Mouvement en Danse en Dada à Zürich (1995), elle fit plusieurs présentations autour de Sophie Tæuber-arp, en tant qu'interprète dans des performances lors d' expositions (Musée Bellerive, Zürich; Ziegelhütte, Appenzell). Depuis 1993, elle se produit en tant que soliste et en collaboration avec des danseurs, musiciens, acteurs et actrices et artistes plasticiens à Londres (UK) et à Bâle (CH). Elle chorégraphie pour la scène aussi bien en site-spécifique, en intérieur et en extérieur. Dans les dix dernières années, sa recherche chorégraphique s'est concentrée sur l'improvisation en tant qu'art de la performance, ayant travaillé intensive-ment avec -parmi de nombreux autres- Deborah Hay et Nancy Stark-Smith.
En 2004, Monique Kroepfli fonde le collectif de danse, lost&found
MARIGIA MAGGIPINTO
Dancer, a member company of Pina Bausch Tanztheater (1989 to 1999). She studied in Rome with Viola Faber, Libby Ney (tecn. Limon) Andre’Peck, Roberta Garrison (tecn. Cunningham), Richard Haisma (Nikolais) Mudra ( Bejart), Matt Mattox (Jazz) e Martha Graham.
She participates in the creation of the performance by Giorgio Rossi (Stop Palmizi / Carolin Carlson) at the Festival of Polverigi. She studies the techniques of Jean Cebron (composition/improvisation), Hans Zullig (tecn. Joss) at the Folkwang Hochschule in Essen (directed by Pina Bausch).
She danced with Pina Bausch in 14 different choreography and participated in the new creations of the German choreographer: Tanzabend II (’92), Schiff (’93), Trauerspiel (’94), Danzon (’95) and Fensterputzer (’97). Leaving the company in 1999 but later returned as a guest participating in the festival Tanzteather (2000, 2001, 2002).
She works in collaboration with Pina Bausch Foundation giving workshops in occasion of two big expositions dedicated to Pina at the Bundes-kunsthalle in Bonn and at the Gropius Bau in Berlin (2015-2016).
She works as freelance giving workshops and master classes in Italy and Europe.
NUNZIA TIRELLI
- Practical Choreologist, “Specialist diploma in Choreological Studies” contemporary principles and practice of Rudolf Laban’s work at Trinity Laban Conservatoire of Music and Dance, London.
- Dance-movement therapist (Art Therapy Italiana Bologna).
- CMA (Certified Movement Analysis), issued by the LIMS, New York.
Between 1978-1990 she studied and worked as a dancer with choreographers who have traced the history of modern and contem-porary dance. 1990-2002 she travels and works extensively with Teatro delle Radici absorbing the methodology of its founder Cristina Castrillo, as a dancer, actress and assistant. Since 2002, she researched and studied the art of movement in its perfor-mative, somatic and deep aspects, she also practices the discipline of Authentic Movement, an exploration of the uncon-scious through movement. Since 2013 she promotes and organizes the LABAN EVENT in Monte Verità, Ascona Switzerland. One of the winners of the Swiss Dance Award 2014 “dance as cultural heritage” with the project "The Dancing Drumstick and Ishtar's Journey into Hades”. 2018 Member of the Jury Swiss Dance Award Federal Office of Culture.
VALERIE PRESTON-DUNLOP
Dr. Valerie Preston-Dunlop, docteur ès choréologie, est consultante au Trinity Laban Conservatoire de Musique et Danse où elle a introduit et développé les Études Choréologiques. Praticienne-Chercheuse, elle reçut sa formation initiale de Rudolf Laban, Lisa Ullmann, Kurt Joss et Albrecht Kunst. En tant que jeune professeure de danse moderne, elle développa les concepts de Laban pour la danse éducative et pour la notation. Toujours innovante elle initia et développa le Motif Writing.
Ses intérêts de recherche actuels sont: la géométrie sacrée dans le mouvement humain, la redécouverte et la recréation des œuvres des années 20 de Laban, et le développement de méthodes de cartographies interactives pour documenter le processus créatif, notamment pour la danse théâtre multimédia de William Forsythe. Elle publie plusieurs livres, dont Rudolf Laban: An extraordinary Life (winner of the Dance Perspectives book of the year 1999).
© FOC / Adrian Moser
