The word dramaturgy has its roots in Western theatre practice and often comes laden with the limitations of that history and lineage, where the intellect is privileged over the knowledge of the body, and certain spaces hold more power than others. What then does it mean to practice dance dramaturgy? I have no answers! But I have lots of questions, along with stories of how I have fumbled and benefited as both dramaturg and choreographer. Bring your own stories and questions, and together we can share them and discover what might be useful.
Bring a notebook and wear clothing you are comfortable moving.
To register contact members[at]thedancecentre[dot]ca.
Deadline for registration: November 6
Bio:
Lee Su-Feh (she/they)’s practice sits in the interstices of performance-making, pedagogy, ritual, writing and dialogue facilitation.
They split their time between Kuala Lumpur, Malaysia, where they were born and raised, and xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, səlilwətaɬ Territories, a.k.a. Vancouver, Canada, where they make their home. Over the past 35 years, they have created a provocative body of award-winning trans-disciplinary work that interrogates the contemporary body as a site of intersecting and displaced histories and habits. Su-Feh’s current preoccupations involve somatic algorithms, performance-making as collective nervous system attunement and imagining societies that dance.
Photos: Luciana F. D’Anunciação and SD Holman