Andrew Morrish

João Fiadeiro

João Fiadeiro (1965) is a Portuguese performer, choreographer, researcher, teacher and curator. He belongs to the generation of artists who emerged in the late eighties in Portugal and gave rise to the New Portuguese Dance movement.  As an artist, his work is positioned at the intersection of performance, dance, visual arts and theatre. As a researcher, he navigates the intersections between practice and theory, art and science, and life and art. In the late 1990s, he began systematizing Real-Time Composition, a theoretical-practical tool supporting creation, decision-making, and collaboration, around which all his activities as an artist and researcher revolve.  He was the artistic director of Atelier Real, a venue that played a major role in the development of contemporary dance and trans-disciplinary initiatives in Portugal for almost 30 years (1990-2019). João Fiadeiro tours extensively throughout Europe, North and South America with his solo and group works. He is regularly invited to be a visiting professor at various institutions linked to training and research. He is currently an associated artist-researcher at Forum Dança in Lisbon. His work was recently the subject of a major retrospective at Centro Cultural de Belém in Lisbon.  Real Time Composition is a theoretical-practical tool that studies, problematizes and systematizes the experience of collective decision-making using the fields of improvisation and composition in contemporary dance as a privileged territory of its experimentation. Real Time Composition "object of study" is the spatio-temporal gap that arises when the experience we all have with linear time is interrupted and suspended by an accident or an incident. This generates a “glitch” in the “timeline arrow”, creating a void in the sense of continuity. Real Time Composition "takes advantage" of this in-betweenness to transform what could be perceived as an interruption, into an interval. Inside this interval - between the moment we collide with what affects us, and the moment we relate to its possible manifestations – time has this rare quality of being simultaneously “no longer” and “not yet”. Inside this interval, time is not linear (or even circular) but "twisted" (like a "Möbius strip" topological surface), governed by laws that don't respect conventional notions of before or after, inside or outside, present or absent.  Inside this interval we are able to disappear in the obvious and (re)appear in the absence. Exploring Real-Time Composition with João Fiadeiro: The Intersection of Dance, Improvisation, and Collaboration João Fiadeiro (1965) is a Portuguese performer, choreographer, researcher, teacher and curator. He belongs to the generation of artists who emerged in the late eighties in Portugal and gave rise to the New Portuguese Dance movement.  As an artist, his work is positioned at the intersection of performance, dance, visual arts and theatre. As a researcher, he navigates the intersections between practice and theory, art and science, and life and art. In the late 1990s, he began systematizing Real-Time Composition, a theoretical-practical tool supporting creation, decision-making, and collaboration, around which all his activities as an artist and researcher revolve.  He was the artistic director of Atelier Real, a venue that played a major role in the development of contemporary dance and trans-disciplinary initiatives in Portugal for almost 30 years (1990-2019). João Fiadeiro tours extensively throughout Europe, North and South America with his solo and group works. He is regularly invited to be a visiting professor at various institutions linked to training and research. He is currently an associated artist-researcher at Forum Dança in Lisbon. His work was recently the subject of a major retrospective at Centro Cultural de Belém in Lisbon www.joaofiadeiro.pt [http://joaofiadeiro.pt]

Julyen Hamilton

Julyen Hamilton is a dancer / choreographer / teacher / musician. He has been making and performing dances for 45 years throughout the world. He has made over 100 solos as well as 25 years of Company pieces and numerous collaborations with dancers and musicians and theatre performers. Born and brought up in England he trained in London in the 1970’s, a time of radical experimentation, he has been an exponent of innovative performance since that time. His work is mostly improvised : he composes dance works instantly as well as the texts which often accompany them. His work with text is unique. It fuses naturally his long-term writing practice with his refined skills in dancing. When working with his company ALLEN’S LINE he directs dancers and lighting designers to make and perform work through this same immediacy. With his company ALLEN’S LINE, he has been performing “GOAT OCEAN” in Rome, Paris, Bruxelles and France during 2023 and their new work “CHILD of DAY” has shown in Paris and Bruxelles during 2024. Since the 80’s he has performed constantly in close collaboration with many of the highest quality musicians from all over Europe. (Barre Phillips, Fred Frith, Tristan Honsinger, Michael Moore…) It is with some of these musicians that he gives readings of his poetry. He is at present performing the solos ‘INTERVIEW’, ‘HELD DEAR’ and “a KOAN for our Times” performing with bass player Barre Phillips, Nuria Andorra and Jordina Millá amongst many others. As a pianist he plays regularly with Hamilton Carroll in Berlin and Brussels. Their first cd ‘POINTER’ was released in 2016. His label ‘BLUEDOG PUBLISHING.net’ produces videos of his performances on DVD, CDs and print. His new poetry album ‘Jack Gets Out of Prison’ with bassist Wilbert de Joode was released in 2018 and ‘The Road to Amarillo’ piano/text/bass with Giorgos Kokkinaris released in 2022. www.julyenhamilton.com In this episode, Julyen Hamilton, an experienced performance maker with over 40 years in various fields including theatre, dance, and teaching, shares his deep insights on improvisation and instant composition. Julyen discusses his current creative endeavors, including his solo piece 'KOAN for out Times' and his work with his company Allen's Line. He touches upon the principles of his pedagogy, which are rooted in his vast experience and focus on the live moment and the dynamic interplay between the personal and larger environment. Julyen also delves into the timeless elements of birth, life, and death, and the continuity of being that transcends physical form. Throughout the conversation, he emphasizes the importance of form in performance, objects, and text, and how these elements can house and express deeper spiritual and ephemeral qualities. The episode closes with Julyen reflecting on the vital importance of making and sharing work, especially in challenging times. 00:00 Introduction to Julyen Hamilton 01:49 Julian's Current Projects and Insights 03:53 The Essence of Pedagogy and Performance 07:37 Timeless Themes in Art and Life 27:05 The Tangibility of Text and Speech 38:07 Creating Majestic Worlds in Theatre 53:28 Upcoming Projects and Final Thoughts

Katie Duck

Katie Duck is a renowned multidisciplinary artist, performer, teacher and pioneer with a career spanning several decades.  Originally from the United States, she has lived in Italy, England and is now based in the Netherlands. Duck is celebrated for her innovative multidisciplinary approach to performance art, blending dance, theater, music, and text in her work. Duck uses a microscopic view of improvisation as both a creative tool and a performance strategy. Her work often blurs the line between composition and spontaneity, challenging traditional notions of performance by incorporating elements of sound, voice, movement, and visual design into her practice. Her performances are often characterised by their spontaneity and interaction with the audience, as well as their exploration of themes such as vulnerability, identity, and the human experience. Duck is also known for her dedication to teaching and mentoring young artists, leading workshops and residencies around the world. As a teacher, she has developed a distinctive teaching style that integrates multi disciplines into a holistic approach. She encourages performers to embrace their individual artistry while exploring the dynamics of collaboration. Her workshops focus on developing a heightened awareness of time, space, and presence in a sound driven performance platform. She has been involved in educational programs worldwide, influencing generations of artists. A key figure in experimental performance, Duck’s contributions have significantly influenced contemporary processes towards real time performances. She has collaborated with musicians, dancers, and visual artists throughout her career, with performances that are often described as dynamic, raw, and deeply engaging. www.katieduck.comIn this interview, multidisciplinary artist, performer, teacher, and improviser Katie Duck discusses her extensive career spanning four decades across Europe and the U.S. Based in Amsterdam, Katie describes her journey from acting to modern dance, mime, and collaborative improvisation with musicians. She emphasizes the importance of real-time composition, the role of choice in performance, and the significance of multidisciplinary approaches to create dynamic pieces. Katie also reflects on her inspirations, personal experiences, and the evolving relationship between performance and public engagement. The interview highlights her ethos of integrating diverse disciplines and emphasizes the political aspects of public performance.00:00 Introduction to Katie Duck01:40 Katie's Early Years in Acting02:23 Transition to Dance and Music04:24 Discovering Improvisation07:38 Improvisation vs. Real-Time Composition10:54 The Role of Choice in Performance23:25 Text and Vocalisation in Performance29:59 The Art of Movement Communication31:17 Exploring Text and Narrative in Performance31:46 Collaborative Dynamics with Julian Hamilton34:05 Non-Narrative Storytelling and Audience Engagement37:17 Personal and Environmental Influences in Art44:10 Creating Multidisciplinary Worlds on Stage50:05 The Role of Improvisation in Dance and Performance55:35 Concluding Thoughts and Future Directions

Peter Trotman

Peter Trotman is a performer known for his unique physicality, heightened by graphic verbal abilities and a wry wit. Based inNaarm/Melbourne, Australia, he was a member of Al Wunder’s Theatre of the Ordinary from 1982 – 88. Following this emerged a fruitful and intensive 13-year period of research and collaboration with Andrew Morrish. Together, they performed in Australia and overseas to considerable acclaim. This periodforged many of Peter’s ideas about improvisation, dance, and language. Now predominantly a solo artist, with the occasional collaboration, he continues to explore his curiosity into the potential for both movement and text to emerge with richvibrant form in the present moment of performance. An ongoing aspect of his work has been the progressive evolution of a map of developmental strategies and forms, always searching for what is useful, clarifying, challenging, and generative. In this episode of 'Interviews with Improvisers', Peter Trotman, an experienced performer from Melbourne, Australia, shares his journey into the world of improvisation. Peter discusses his background in dance, the influence of mentors such as Al Wonder, and his collaborative work with Andrew Morrish. He delves into the nuances of combining movement and language, the importance of disrupting habitual patterns, and his improvisational practice involving techniques like fast-talking and imaginative storytelling. Additionally, Peter speaks about his interest in teaching and developing a series of analytical workshops. He reflects on how political and personal contexts permeate his performances, shaping them into rich, multifaceted experiences. ⁠www.peter-trotman.com⁠ [http://www.peter-trotman.com] 00:00 Introduction to Peter Trotman 01:25 Peter's Early Life and Career Beginnings 02:10 Discovering Dance and Improvisation 03:15 Formative Years 06:35 Theater of Ordinary and Beyond 07:21 Exploring Language and Movement 10:11 Experimental Performances and Techniques 18:55 The Elements Framework 23:47 Exploring Character Personas 24:12 Personal Reflections and Performances 25:58 The Evolution of Performance Art 27:30 Imaginative Storytelling Techniques 28:59 Political Themes in Improvisation 36:53 Teaching and Workshops 40:14 Concluding Thoughts and Future Plans

Andrew Morrish

The audio cast series where Robert has conversations with improvisers working across performing and multidisciplinary arts. You’ll hear him talking to dance and theatre artists as well as those arts practitioners who are working with improvisation more broadly. Interviews with Improvisers stems from Robert's interest in the relationship between voicing and dancing. In this interview, the esteemed improviser and educator Andrew Morrish reflects on his extensive career spanning over four decades. From his humble beginnings in South Wales and moving to Australia at a young age, Morrish discusses his journey into the world of dance and improvisation, starting with his encounter with American teacher Al Wonder in 1981. He elaborates on his unique approach that blends language and movement, the influence of working with Peter Trotman, and the evolution of his teaching techniques. Morrish also touches on the political and subversive nature of improvisation and shares his recent initiatives, including online improvisational gatherings. Through personal anecdotes and profound insights, Morrish offers a rich tapestry of his life's work and his continuous development as an artist. In Andrew Morrish’s 45-year career in the arts he has been a performer, teacher, facilitator, mentor and advocate for a range of practices including improvisation, performance, dance education, dance therapy and dance research.  He became freelance in 1993 after 20 years of full-time employment as a public servant and teacher. From 1993 to 2001 he combined sessional teaching in tertiary institutions in Melbourne, working in street theatre ensembles, and developing his performing practice as a member of the improvisational duet “Trotman and Morrish”. From 2001 to 2020 he worked exclusively in his Performance Improvisation practice, touring through Europe and Australia  performing, sharing practice, mentoring and teaching. He is now based in East Gippsland, in the south east corner of Australia, and continues his solo practice and individual coaching in Australia and Europe, on-line. 00:00 Introduction to Andrew Morrish 01:20 Early Life and Journey to Australia 01:33 Discovering Dance and Improvisation 02:22 Teaching and Dance Special Education 03:29 Collaboration with Al Wonder 04:12 Dance Therapy and Improvisation 07:15 Partnership with Peter Trotman 13:45 Teaching Improvisation in Europe 15:29 Developing a Unique Teaching Style 16:58 Performing and Teaching Globally 19:00 Reflections on Improvisation and Content 31:48 Exploring Improvisation: A Deeper Dive 32:24 The Essence of Improvisation: Interaction and Emergence 33:23 Balancing Control and Allowance in Improvisation 34:14 The Role of Attention in Artistic Expression 39:25 Character and Narrative in Improvisation 47:52 The Political Nature of Improvisation 53:21 Community and Connection in the Improvisation World 55:19 Final Thoughts and Reflections Website: www.andrewmorrish.com