Opiyo Okach : From the moment I shifted to working with mime and physical theatre I automatically found myself creating and interpreting my own work. It has become a way of working alongside ensemble work. As director of the group, I develop a communal language where movement and text constantly intertwine as they are passed amongst us; it is our way of manifesting a sharing of the imagination. Castaldi Rhythm gives context, gives both house and elements therein. Barre Phillips double bass Julyen Hamilton dance. Julyen Hamilton. International Poetry Festival Utrecht. Naturally influenced by all various physical experiences -sport, dance training, philosophy- I can say that the studies of T'ai Chi, Alexander Technique and Ki-Aikido have been radical in the clarifying and inspiring of the development of the technical area. Teatro Limonaia Sesto Fiorentino.
My work, both in company and solo, develops dance for the theatre - a place where we practise a process of improvisation in rehearsal and in the moment of. working the art of improvising music and dance for the improvising, dance making . concerning the different compositional roles within improvised theatre.
Video: Julyen hamilton improvisational theatre La Caldera Summer stage 2016 - Julyen Hamilton
for bookings contact julyenhamilton@ EMIR improvising music . of Theatre.
TEHRAN. Iran. LANDSCAPE PORTRAIT dance / poetry score/ decor.
Dostoevsky Memorial Museum St.
Video: Julyen hamilton improvisational theatre Barre Phillips / Julyen Hamilton : in The Studio, Fontcoberta, Spain August 2016
Barker Teatteri Turku Finland. Festival New Dance.
Retour vers l'accueil. In this ambience dancers and light designer are directed to compose pieces instantly; we practise a process of improvisation in rehearsal and in the moment of performance. The Needle dance Maya M.
NEU 2014/NOVEMBER 16 YE HAI MOHAMBATTEIN
|Culturally we also represent realities that are apparently quite far from each other.
There simply weren't other people pursuing such line of work in Nairobi where I started. Without this ability -and the tools for it- we are often at the mercy of our subjectivity and seldom have the complementary power of our objectivity, a state which can reduce the nature of our 'compositions' to the merely personal and lacking in the 'universal' power.
It is conceived for presentation as much within closed black boxes as open air non-theatre spaces. Without structure, 'other' is always outside or away from, indeed every element is simply on its own - Permission - action - appreciation In the body there is an accumulation via experience, with the voice, the air passes through and is essentially unable to be captured, each second fading and having to be remembered for us to construct sense.
He studied contact improvisation and improvisation with Daniel Lepkoff, Julyen In she moves to Europe where she participates in dance/theatre. Opiyo Okach, performer - Julyen Hamilton, choreographer that Opiyo Okach chose to work with Julyen Hamilton on improvisation and instant composition Being an instant composition work initially created for an open air theatre at festival.
In the solo I find a certain liberty of personal choice in a way that is quite different to when working with other dancing partners.
It heightens the extent to which, besides light and music, one can engage the spatial specificities of a venue and the presence of different audiences at each performance as active partners that influence the evolution and dynamics of choice. Dostoevsky Memorial Museum. In this work the voice is one which comes naturally from the body in motion; from a mind which is housed in a dancing body.
Opiyo Okach : I first met Julyen as a participant in one of his instant composition workshops.
Julyen hamilton improvisational theatre
|And this allows elements to be together and to instantly have a common ground.
The Great Exhibition Centre St. Teatro Cantiere Florida Firenze Italy. It has become a way of working alongside ensemble work. La Caldera click for details.