Photos © Live Action Set
Performance Opportunity with Live Action Set & The Theorists
Open Audition-Workshop for Performances April/May 2018
Sunday, December 3, 2pm-5pm
Black Box Studio
4544 South Lamar, Building 300
Austin, TX, 78745
CALL FOR ARTISTS:
Dancers and actor-movers skilled in classical and modern technique with a sensibility for group improvisation. You are invited to an audition-workshop led by Minneapolis/New York City-based artist Joanna Harmon on the skills of interactive dance! “My goal is to empower individuals who may not consider themselves dancers through their own sense of movement.” This audition-workshop introduces you to the technical and creative skills needed to support an audience member in the role of prima dancer of an improvised dance with the mission of uplifting that individual and inspiring an audience. Warm-up begins with Gaga taught by collaborator, Amy Morrow followed by interactive tasks lead by Director, Joanna Harmon.
Registration opens November 1!
Joanna’s interactive dance work in Austin culminates in an evening-length performance presented in Spring, 2018 with an ensemble of Austin-based dancers, musicians, and technical artists.
To take place beginning in January, 2-3 times per week during weekday early afternoons and/or Sundays. Exact rehearsal schedule determined with ensemble. Rehearsal hours and performances will be honored with a stipend.
WHY INTERACTIVE DANCE?
I believe that all individuals contain an expression within themselves that is not expressed through words, but through movement. This is dance. But, in my experience, time and again the word “dance” elicits fear in individuals who aren’t professional dancers. I aim to inspire a greater number of individuals to see themselves, not just trained professionals, as dancers, and to do so through interactive dance. Ultimately, this is a way I wish to empower individuals.
What is the kind of interactive dance that I’ve created look like?
A dance may be 6-15 min. long, and at the beginning of each, a narrative prompt is gathered from from the volunteering participant and serves as the emotional inspiration for the dance. It also serves as a common lens for all involved-- whether they are in the dance or viewing from the audience. What each participant individually brings to the stage through the narrative prompt and their individual movement style is what inspires the arc of the dance. The unique skillset of the trained ensemble is to support the participant as the “prima dancer.” Each participant may come from any and all backgrounds. However, one thing that all participants have in common is that they all self-elect their participation. No one is ever forced to participate.
MY HISTORY WITH INTERACTIVE DANCE:
I, with Live Action Set, a performance company based in Minneapolis, MN, first presented to the public our first incarnation of an interactive dance show called UNSET. It played for 7 performances in March, 2017 at The Southern Theater in Minneapolis, MN. I directed an ensemble of 6 dancers, 1 musician, and 1 lighting designer. In addition to working with participants from the audience during public performances, we worked with a total of over 3 dozen participants throughout the rehearsal process. The rehearsal process took place over 60 hours over the course of 12 months.
More about Live Action Set ---> LiveActionSet.org
I am am a theater artist based in Minneapolis and New York City. For the past 7 years as Co-Producing Artistic Director, I have led Live Action Set, a movement-based performance company. Productions have intertwined the genres of dance, clown, immersive, and interactive, and received numerous accolades and awards, including two Ivy Awards, the Twin Cities’ largest audience-voted awarding organization, for “Best Overall Production” and “Excellence in Theatrical Design.” Simultaneously, as an actor I have worked with a multitude of companies including The Guthrie Theater, The Children’s Theater, Montana Shakespeare in the Parks/Schools as well as formed strong relationships with smaller, “underbelly” companies.
My personal creative affinities are for devised, ensemble-based processes, theatrical magic, metaphor, epic emotions, and a strong commitment to intention placed behind the smallest of details. This mix stems from a creative background in two aesthetic branches: “classical theater” training from The University of Minnesota/Guthrie Theater B.F.A. Program and “physical theater” training from the tutelage of numerous teachers across the country. My interest in asking “Why live performance?” has compelled my growing incorporation of audience-interactivity into my work.
I am currently in Austin as one of a team of 10 individuals from around the country selected to form a think-tank called The Interactive Deep Dive. We are focused on developing interactive story techniques applied across platforms (theater, dance, simulations, VR/AR, etc.) Together, we prototype and develop interactive story projects as well as lead our own, individual projects. More about the program --> DeepDiveAustin.com.