During our residency at Theatre Junction in Calgary for their TJLAB sessions we invited filmmaker Kevin Dong to join us in the space and capture some moments of the Monkeys at work.
#webeginwithanemptystudio is a short documentary to introduce ourselves at Dancing Monkey Laboratories. We are interested in researching, exploring, discovering and deconstructing what performance can be by creating new works that speak to diverse audiences.
We’re in the Lab… Dancing.
Musician, composer and Dancing Monkey, Nathaniel Schmidt, has been working with Project InTandem, creating the score to RESIDUE created by Meghann Michalsky & Matt Hall.
Project InTandem is a double-bill dance theatre production – the performances will take place at the Pumphouse Theatre in Calgary from November 9 to November 11. Along with RESIDUE, the event will feature VITAL SIGNS created by Sylvie Moquin.
Meghann Michalsky participated in Dancing Monkey’s WE MUST COLLIDE, and Sylvie Moquin participated in Humanoid – A LOVE SUPREME.
January 31st – 2018. Cafe Koi. Le Salon des Refusé returns for its 2nd evening of ridiculous material. Our first evening presented AFTER US THE SAVAGE GOD in 2016. This time out we present WAITING FOR GORDO by Mike Czuba. (Cast to be finalized – but rumour has it the band is getting back together.)
* A play, based on a screenplay by Mike Czuba, Andrew Kenneth Martin and Gordon Currie, based ever-so losely on another play by some other dude and influenced by a single epidsode of the Six-Million Dollar Man. In no way does the content of this play infringe on the copywright of any other plays with similar titles. Any similarites to any other persons or characters alive or dead is 100% coincidental and should be treated as such. If you have to ask if something is real… it already is.
The latest instalment of *PAGE ONE: Actor Tristan D. Lalla reading p.39 of REPRISE by Mike Czuba.
**Page One is a video initiative by Dancing Monkey Laboratories to connect with actors, dancers, designers, and anyone else really, to read the first page of one of Mike Czuba’s plays (*or – a page from anywhere in the text, or the last page, or a collection of sections, eventually even the screenplays – it’s flexible – and contains many an ‘ish’ as is suggested by Nocturology‘s non-existent, yes strongly suggested, theatrical guidelines.)
Dancing Monkey’s Nathaniel Schmidt is about present his latest musical endeavour called Nobody Say Anything. The group is comprised of Nathaniel with Chris Dadge, Mark, Limacher, and Nate Waters. They play music like you’ve maybe never heard but maybe you have – but not from them.
Thanks to a Small Experiments Grant from CADA (Calgary Arts Development), they were able to put this show together and experiment with new sounds and new ways discovering sounds. It would be great if you could join them at this live concert event in fulfillment of the the grant. There will be beer and a few other special surprises.
June 29th, Festival Hall, 1215 10 Ave SE, Calgary, Alberta. Doors open at 7pm.
Poster design by the very cool Gregg Muller.
Melissa Tuplin will be bringing her latest solo work “Accidental Euphoria” to NEXTFEST in Edmonton as part of the PIVOT Dance series curated by the Good Women Dance Collective.
The story of a Dance: http://www.theatrejunction.com/a-day-in-the-life-accidental-euphoria/
L’UniThéâtre in La Cité Francophone | 8627 91 St.
Friday, June 2, 2017 at 8:00 (talkback to follow)
Saturday, June 3, 2017 at 7:00pm
Sunday, June 4, 2017 at 5:00pm
“The floor seemed wonderfully solid. It was comforting to know I had fallen and could fall no farther” – Sylvia Plath, The Bell Jar
*Originally performed as part of Dancer’s Studio West’s Alberta Dance Festival.
A review from The Dance Current: Calgarian Melissa Tuplin’s Accidental Euphoria, a solo performed with notable virtuosity. Through a series of tension-laden, contorted positions, Tuplin gave off the impression of riding a euphoric-depressive roller coaster. Reference to the medically induced hypertensive crises resultant of Iproniazid usage, a strong antidepressant prescribed in the 1950s that caused intracranial hemorrhages, was Tuplin’s creative seed for the work, according to her program notes. Sensations at extremes of the pain-pleasure continuum were embodied with kinesthetic efficiency, which generated empathy.
Photos courtesy of: Tim Nguyen / Citrus Photography and Dancers’ Studio West.