Dance Class: a performance

Dance Class: a performance

This dance class wants to be a show (it wants to shine, be in the limelight).

This performance wants to be a class (it wants you to learn, wear comfy clothes).

In the danceclassperformance all the participants do some dancing and do some watching (even at the same time). It is open to all levels of dancers and spectators. Please bear in mind that all should come in comfortable clothing and be prepared to watch and dance without shoes. You won’t sweat too much, honest.

Choreographer/performer Gillie Kleiman
Artistic advisors Simon Bayly, Gill Clarke
Producer Beckie Darlington
Photography Camilla Greenwell
Trailers Eleanor Sikorski
Documentation Katarzyna Perlak

Supported using public funding by the National Lottery through Arts Council England

Trailers

 

Documentation

Watch documentation video

Forest Fringe at The Place, London, March 2015

Dance City, Newcastle, October 2015

Attenborough Arts Centre, Leicester, October 2015

Dance4, Nottingham, October-November 2015

Shoreditch Town Hall, London, November 2015

ARC, Stockton Arts Centre, November 2015

Study in Superhero

Study in Superhero

 

A couple of short solo studies derived from group processes.

 

A version for soloist Hannah McDermott from youth group Mania, Dance City, Newcastle, July 2010

Homemade Festival at Chisenhale Dance Space, London, November 2010

Chelsea Theatre, London, November 2010

The Public House at Elephant and Castle Shopping Centre, London, May 2011

The Giant Women present The Greatest Show in Town

The Giant Women present The Greatest Show in Town

 

The Giant Women present The Greatest Show in Town is a dance performance which promises to be entertaining, virtuosic, and sharp, through beauty and emotion. Whilst showing you the unstoppable power of innovation and blindly following trends, the show achieves historical significance and promises the creation of new paradigms for the dance scene of the future.

Parody, critique, or tragedy about the chase for success? That’s for the audience to decide.

 

Authors and performers Dragana Bulut, Gillie Kleiman, Lígia Soares
Dramaturge Ana Vujanović
Photography Nina Zeljković

Funders and supporters:
Ministry of Culture Serbia, Belgrade City Council, Station – service for contemporary dance, European Cultural Foundation – STEPbeyond fund, VUK Belgrade, Cultural Centre Stari Grad, CZKD, Mimecentrum, Tanzfabrik, Máquina Agradável, Ministry of Culture Portugal through Máquina Agradável, Rex

Documentation available on request

 

Centar za kulturnu dekontaminaciju (Centre for Cultural Decontamination), Belgrade, Serbia, 20 and 21 February 2009

Instituto Franco-Portugais (Franco-Portuguese Institute), Lisbon, Portugal 14, 18, 19 April 2009

Serbian National Theatre, as part of Balkan Dance Platform 09, Novi Sad, Serbia, 2 October 2009 (with Milka Djordjevich replacing Lígia Soares)

Duet-by-Correspondence

Duet-by-Correspondence

Aim: to make a duet

Obstacle: our geographical location in distant cities

Solution: production of a Duet-by-Correspondence

An experiment in process and product, fact and fiction, collaboration and communication

We present a duet-by-correspondence in reaction to our physical and professional situations. We cannot be physically together. Our choreographic process is one of writing, back and forth, producing material and taking compositional decisions, via our blog. The product is the process from the page to the stage.

 

In this show we will lie. We will appear in each other’s imaginings. We will have long one-sided conversations. We will be silent. We will type over one another. We will not listen. We will misinterpret. We will be alone. We will be together. We will dance. We will perform a process. We will perform our process. We will be each other’s audience. We will hide. We will pretend. We will disagree. We will be absolutely honest.

Choreographers/performers Iris Chan and Gillie Kleiman
Photography Lucy Monaghan

Supported by the National Lottery through Arts Council England

Resolution! at The Place, London, 12 January 2009
Public Announcement at Dance City, Newcastle, 8 May 2009
As installation/conversation at WHAT NOW, Siobhan Davies Studios, London, 18 and 19 April 2009

Ophelia is not Dead

Ophelia is not Dead

This Ophelia is not Dead is a fat girl cabaret.

 

Ophelia is not Dead is a project by the international collection Embassy of. We proposed to one another to each make pieces by this name, which can or cannot relate to the title’s meaning, but that are otherwise unconnected artworks. There are at least eight Ophelias in circulation. Therefore, though this work is a solo, it represents and is included in a wider domain of artistic work in the field of dance and performance worldwide.

This Ophelia is not Dead is a fat girl cabaret.

In cabaret performances (thinking of burlesque or drag, as examples), the artist overstates an element of their identity, existing or not, to the point at which the audience must question their own relation to this identity and body. The re-iterations become so obvious that they can no longer be thought about, making space for something else to happen. This is the mechanism I employ in this work, in a proposition to make fatness watchable.

I tell ‘Yo’ momma’s so fat’ jokes.

I play with the fat flesh of my frame.

I dance to a song called “Look How She Fat”, and another called “Fat Gal”.

The show ain’t over ‘til the fat lady sings, so I sing.

But I also dance, I dance everything I can, the most I can do, I try to give maximum opportunity for the audience to watch this other body – a body that is always special, but even more special in the athlete-dripping world of contemporary dance – in motion. How is it different? What does it do? What happens when it moves?

Choreographer and performer Gillie Kleiman
Mentor Stacy Makishi
Photos by Zuzanna Brzozowska

"Kleiman also plays with the joys of structural balancing – interrupting and splicing her own ‘fat girl cabaret' so that it's more than just the series of dance numbers it claims to be. When we expect show business she does fat wobbling. When we expect fat wobbling she does sexy. Surprises and all, it is neat cabaret entertainment. She delivers the lame alongside the glorious as if they were made for each other. Tampon jokes drift as if on fumes of Earl Grey and anti-climatic anecdotes are positioned into the splits. I can't decide whether she makes these things look normal or whether she looks normal alongside them. Either way, my eyes are on her and they are refusing to blink."

Eleanor Sikorski for Resolution! Review



 

Interview
Bellyflop Magazine

 

 

First in Three at Northern Stage, Newcastle, December 2008
platform00000008 at Star and Shadow Cinema, Newcastle, December 2008
Teatr Nowy, Łódź, Poland, August 2009
REX, Belgrade, October 2009
BLOP at Arnolfini, Bristol, March 2010
Embassy of 4 days and 3 nights, Toihaus, Salzburg, Austria, April 2010
Public Announcement at Dance City, Newcastle, May 2010
Fresh AiR at QMU, London, June 2010
Resolution! at The Place, London, January 2011
WHAT NOW at Siobhan Davies Studios, London, April 2011
Springboard, Corby Cube (presented by Dance4), July 2011
Chelsea Theatre, London, November 2011
GIFT, Gateshead, April 2012
Summer Dancing Festival, Coventry, June 2012
HaZira, Jerusalem, Israel, July 2012
JoJo Festival, Oulu, Finland, September 2012
Dance Diary at Roehampton University, London, November 2012
Anseo, Dublin, May 2013
Private home, Nottingham (presented by Dance4), November 2013
TripSpace, London (presented by BELLYFLOP Magazine), February 2014