A new play in development by Mike Czuba, YOUNG RIDERS: In and Out of Consciousness tells the story of four young members of SNCC (Student Non-Violent Coordinating Committee) who made the courageous (some say irresponsible) decision to continue the Freedom Rides after the original riders were brutally attacked in Alabama causing the organizers to cancel the remainder of the Ride.
As the play develops we descend into the nightmarish world of the Parchman Farm maximum security prison in Mississippi where many of the freedom riders were sent after being arrested for ‘Breach of Peace’. YOUNG RIDERS: In and Out of Consciousness shines a light on a moment in the Civil Rights movement that started as a simple idea but ignited a national debate and rose to the heights of the Federal Government. The play also makes it painfully clear that the struggle for equality is constant by exposing the overlaps between then and now.
“We no doubt have some jaded, irony fueled sorts in the audience tonight, so before you accuse us of preaching to the choir, let me remind you that all choirs need practice and sometimes we forget the words…”
Interested in a read? Contact: email@example.com
**Music: Trouble on the Bus (Freedom Rides) by the Marcus Shelby Orchestra from the album “Soul Of The Movement”.
It’s a great day in the Laboratory as The Dance Current has featured our latest video GOOD FORTUNE DRINKS TOO MUCH on their site. The Dance Current had previously featured our short film SATELLITES CAPTURED in conjunction with the presentation of our new work WE MUST COLLIDE in last years Springboard Fluid Festival of Dance.
Dancing Monkey Laboratories “…research, explore and deconstruct theatre, challenge aesthetics on a visceral scale, bridge artistic communities and create new works through interdisciplinary collaborations.” Jessica Alley.
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“Tuplin’s Dis/Connected is at once introspective and bold. Tuplin’s intimate examination of self-expression versus self-censorship excites with its vulnerability.” Rodrigo Flores – Review/Reflection HERE.
There’s a ragged edge between who you are and how you wish to be seen; the unknowingness of self-love and the knowingness of self-curation. A diary entry, an elegy, a battle-cry, a prayer… what is it to take care of yourself? Read more HERE.
Dis/Connected is a new solo, created from the emergence of my desire to further my individual voice as a choreographer. The work is a personal one, drawing movement inspiration from my experience of dis/connection between my perception of self and my performance of self. In creating this work, I ask the question “how much of my self-definition is filtered through choices of how to publicly represent myself?”.
As a solo choreographer, I have choices to make about movement vocabulary and self-representation and how I wish to straddle the line between performance and personal experience. Presentation of vulnerability, sexuality, extroversion and introversion are challenging to the creation of self-performed work. My ability to create and perform an honest and personal piece of choreography is often parsed through fear of how the choreography will affect the audience’s perception of who I am as a person. This dis/connection between how I self-define myself and how I wish to represent myself publicly is one that is common simply to the experience of being human, but is amplified by participation in an art form that relies on the body as a tool for presentation.
Ultimately, Dis/Connected is a piece about the nebulous and nuanced experience of womanhood, and the choices I make within those those experiences. It’s about sexuality, fear, strength, and vulnerability. It’s about the constant search for connectivity with myself and with others.
June 18 – 20, Vertigo Studio.
10:05 pm nightly, 2:15 pm and 4:35 pm June 20.
We’re between larger projects in the Lab, so we decided to keep ourselves busy by shooting some experiments with projections – dance and spoken word.
“Good Fortune Drinks Too Much” is about searching for a path to travel when there are no visible road signs. When the things that are supposed to guide you are absent but you have to keep moving forward, taking in the view as best you can. Moving forward while fighting the all powerful pull to go as fast as possible (see “Nimeni’s Currents”). Moving forward while letting the beauty that surrounds us everyday affect us as deeply as possible.
Al Green “Have You Been Making out Ok”
Issac Hayes “(If Loving You is Wrong) I Don’t Wanna be Right”
Genesis Theatrical Productions in Chicago will be presenting a full production of Mike Czuba’s play ‘Satie et Cocteau: A Rehearsal of a Play of a Composer by a Poet’ from May 9th to June 5th 2016 at the Athenaeum theater – Studio one.
Robert Orledge, a Satie scholar and composer, who has written two books about Satie (Satie Remembered and Satie the Composer), says the play is: “..A truly excellent piece of theatre which deals convincingly and imaginatively with one of the most fraught love-hate relationships in modern French art. It has real depth and excellent dramatic pacing and is a work of art in itself”
Satie et Cocteau: A Rehearsal of a Play of a Composer by a Poet, is a play about the classical music composer Erik Satie and his complex relationship with the surrealist poet Jean Cocteau. We are watching Cocteau direct an American Actor in the role of Satie in a play that Cocteau wrote in 1939 called Soyons Vulgaires. The play takes place 15 years after the death of Satie. The action takes place during the final rehearsal where Cocteau has only called the Actor, because he feels he does not fully understand the role. Cocteau, in an opium haze, directs the Actor in a series of ‘scenes’, which run the length of Satie’s life and career. We discover that Cocteau’s intentions are for the Actor to fully embody Satie and bring him to life so he can finally exorcise him from his life.
“What you are about to see is a re-creation of a memory of a memory of actual events.” Satie et Cocteau: A Rehearsal of a Play of a Composer by a Poet is a play about the reality of memories, the possession of art, and the ‘truth’ of the theatre.