Marie-Gabrielle Rotie

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

the emotional, mental images that the dancers provoked were haunting: images that one recalls in one's sleep.   

 

Total Theatre 2003

 

Duration 20 minutes

concept and choreography Marie-Gabrielle Rotie

Sound Nick Parkin (and Wovenhand).

Costume Lizzie Barker

Lighting Rotie and Ashley Bolitho

 

Commissioned by Trinity Laban for BA Dance year 3.

Performed October 2011 and toured to UK venues.  

Performed by a Cast of 25 dancers.

Choreography/Improvisation and Performance – Marie-Gabrielle Rotie

Original Sound- Nick Parkin

Costume - Francesca Rios

Lighting Design - Andrew Hammond

Video projection- Ian Pons Jewell (content) Gaia Boretti (editing)

Hair and Make-up: Emma Hopkins

 

Mythic draws inspiration from 19th Century spiritualist photographs of mediums conjuring the departed and from Butoh founder Tatsumi Hijikata’s assertion that to dance is to ‘shake hands with the dead’and his assertion that the ‘body is a corpse desperately trying to stand upright.' Mythic conjures images of transformation and loss. Movement unfolds as a series of film-like fragments of stillness and internal states, exploring the nature of memory and what lives on in us after death. Rotie transforms and seemingly becomes 'other' as she moves between sustained sculptural forms, evoking the spirits of the living and the dead.  Ian Pons Jewell has created projected film inspired by 19th Century images of spiritualist emanations from the body.

 

Commissioned by Trinity Laban and premiered Laban February 2010

Past Touring Dates

Trinity Laban, London Feb 2010 University of Hull in Scarborough 'One the Edge' 18/11/2009 Michaelas Theatre University of Roehampton Harry Crook Theatre, Colstons,Collegiate School, Bristol Rich Mix, Shoreditch London Exeter Phoenix Arts Centre, Exeter George Wood Theatre, Goldsmiths University of London

Wake Butterfly,it's late: 2012

Mythic: 2010

Black Mirror 2008

Choreography and Performance: Marie-Gabrielle Rotie

Duration:40 minutes

 

Original sound - Nick Parkin

Lighting Design - Andrew Hammond and Fay Patterson

Assistant Direction- Nick Parkin

Costume and Props – Rotie

 

Black Mirror takes its name from the devices used by witches for divination but also refers to all that is hidden and shadowy in the psyche. Taking references from the expressionist film 'Nosferatu' and from paintings of Mary Magdalene, Black Mirror delves into the self in an endless hall of mirrors. This solo is a further continuity of Marie-Gabrielle’s interest in the theme of transformation and her research into a trans-personal iconography to represent female desire and eroticisms

 

Commissioned and Funded by Laban and British Council Portgual and International Dance Festival Almada.

 

Past Touring Dates

 

Trinity Laban - Premier

International Almada Dance Festival

Theatro Maria Matos Portugal

Labin Festival Croatia

Exeter Phoenix, Exeter

Harry Crook Theatre, Colstons Collegiate School Bristol

Michaelis Theatre, University of Roehampton

George Wood Theatre, Goldsmiths University of London

Dartington College of Art, Falmouth

Darkness Cycle: 2007

Concept and Choreography Marie-Gabrielle Rotie

Original Sound Nick Parkin Costume: Laban Costume

 

Inspired by the popular vampire Anne Rice novels and contined research into the figure of Nosferatu in silent movies and also Japanese Manga horror comics.

 

Commissioned by Laban 2007performed by 18 BA Dance Students premiered Laban and toured UK venues.

Performance at The Place Theatre  February 2008 .

Incarnate: 2006

 

Duet 45 mins.

Original Concept and Artistic Direction: Marie-Gabrielle Rotie

Choreography: Marie-Gabrielle Rotie

Assistant Direction: Nick Parkin

Original Sound: Nick Parkin

Lighting: Karen Norris

 

 

Incarnate draws upon Rotie's intensive research into Samuel Beckett's short stories. The two performers dance the space between inhale and exhale, birth and death, their bodies inhabited by impulses, spirits and dreams.

 

Premiered Laban Thursday 17th March 2005

Nuffield Theatre in Lancaster May 24th 2006

 

Incarnate was commissioned and funded by Trinity Laban in London and Nuffield Theatre in Lancaster and Arts Council of England.

Cleaver: 2006

Commissioned by Trinity Laban 2005

Original Sound Nick Parkin

Costume: Laban Costume Deparment

Lighting" Fay Pattterson

Assistant Movement Training: Pei Jen Tsai

 

A sculptural work dealing with the violence and pain of a visceral and physical existence, caught between the poetic knife of life and death.

Brutality of Fact 2004

Brutality of Fact (2004) -  trio

Choreography Marie-Gabrielle Rotie

Performers: Marie-Gabrielle Rotie, Pei-Jen Tsai, Yuan Zhang (Eleni Edipidi)

Original Sound and Assistant Direction: Nick Parkin

Costume: Rotie

Lighting: Karen Norris

 

The choreography, takes inspiration from ‘Triptych: Studies for figures at the base of a crucifixion’ 1944 by Francis Bacon.

Three bodies are isolated in cages of light, taking on an almost alien quality, conjuring unfamiliar images that are both beautiful and grotesque.

 

Commissioned by The Place Theatre for the inaugural Place Prize, Sponsored by Bloomberg.

 

Past Touring Dates

The Place Theatre semi-finals for The Place Prize,

The Royal Opera House- Linbury Studio Theatre for Firsts, curated by Deborah Bull.

Trinity Laban, London

Press Review

 

'All postures had a particular resonance that brought their own sense of horror at the sight of unspeakable torment. From the sparse vocal sounds to the clarity in movement shapes of contortion, balance and flow it was evident that Rotie had a clear vision and the specific compositional tools to render this extraordinary work.'  

                                 Thea Barnes/Criticaldance.com 2004

The Collector 2003

The Collector (2003/4)

Choreography and Direction and Film Marie-Gabrielle Rotie

Performance Yael Karavan, Linda Remahl and Marie-Gabrielle Rotie

Original Sound /Assistant Direction Nick Parkin

Lighitng Karen Norris

Costume Anne Fortin and Lindsay John

Outside Eye: Rob Tannion (DV8)

 

Three women characters – child, prostitute and hysteric-  all aspects of one another, always isolated in space, but connected through action.

This work was inspired by the novel The Collector by John Fowles , Freud's studies into Hysteria.  and film images of butterflies fused with the faces of murdered women and children to evoke the violence that surrounds us but also emanates from within.

 

 

Funded by Arts Council London, Dancebase in Edinburgh, Jerwood Space, Dance-ez International.

 

2003/4  Premiered at Butoh: Dancing on the Borderline Festival in London with performances at Chichester University Theatre, Play Box Theatre in  Warwick and  The Place Theatre London.

 

Mutability 2003

Improvisation Performance: Marie-Gabrielle Rotie/ 23 minutes

Original Sound: Nick Parkin

Costume: Anne Fortin

Lighting: Marie-Gabrielle Rotie

Assistant Mentoring and Direction: Ko Murobushi and Nick Parkin

 

Mutability was Commissioned by Welsh Independent Dance 2003 and is a structured improvisation exploring themes of transformation, confinement and freedom. Marie-Gabrielle Rotie’s inimitable style brings together highly detailed, sculpted passages of movement with a surrender to vocal emissions and the impulses and energies of the moment.

 

Past Touring Dates

 

2003  

Premiered Chapter Arts Centre Cardiff Sept 12th and 13th

Jackson’s Lane London  October 30th,

London Metropolitan Univ. October 17th.

 

2004  

Goldsmiths, UCL London, Jan 28th,

Westminster Studio Theatre London, February 11th.

Chichester University. England, March 2nd

 Play box Theatre Warwick England, April 5th

The Place Theatre London, May 19th

Taking Risks, Swindon Dance England, November 13th.

 

2005

Laban Theatre in London – March 17th

International Fabrica in Florence/Italy - May 12-15

Royal Opera House/Clore July 1st and 2nd

Almaida dance festival, Portugal/ November

Crewe and Alsager arts centre

Short formats festival Milan

2006 Die Pratze Theatre  in Tokyo Japan

Press Reviews

 

and Nick Parkin's original soundscape for Marie-Gabrielle Rotie's intense solo Mutability was similarly integral. The sounds included the dancer's own whispered noises, often like stifled screams, as part of a remarkable display of control and internalised emotion.

 

'Dance Bytes, Sep 19 2003,Chapter, Cardiff,David Adams, The Western Mail

 

 

.'Marie-Gabrielle Rotie’s Mutability also looks pretty well as if it knows where it’s going – a stark solo to the accompaniment of a striking soundscape from Nick Parskin. She starts with her hand held over her face as a kind of distorting mask and the short dance is intense and accomplished – she emerges as probably the most assured of WID’s dancers presenting in this Dance Bytes.'

 

David Adams, preview for The Western Mail.

 

‘Rotie mutates into various animalistic forms in a solo journey- she cranes her neck, pokes at the space, as if hatching out of an egg, feeling her way through life. In a costume that is like a second skin or some sort of cocoon and with sparse lighting, the piece has a purpose, a focus and simplicity that is very engaging’.

Dance Europe 2004.

 

intense and accomplished  Western Mail  2003

Refract 2002

Refract (2002)  Duet

Choreography and performance: Liz Lea and Marie-Gabrielle Rotie

Filmmaker: Lucy Cash

Lighting: Karen Norris

Original sound: Nick Parkin.

Costume: Gabrielle Csyani Willis

 

A duet of refractions and distortions within a fluid, oceanic environment of movement and projected film.

 

2002 /3

Premiered Evans Theatre, Wilmslow and toured to MAC  BirminghamHoxton Hall London and Ecology Pavilion

 Mile End Park as part of Crossovers exhibition.

and The Place Theatre London

and Butoh: Dancing on the Borderline Festival.

 

Funded by: London Arts, Jackson’s Lane Zone 3, Cheshire Dance Agency and North West Arts Board in association with Cultureshock, the Commonwealth Games North West Cultural programme and The Jerwood Space.

a wonderfully evocative piece of quiet intensity - minimal movement to maximal effect .

 

 Dance Europe  2002

Mutations 2002

Choreography, Direction and Film: Marie-Gabrielle Rotie

Dancers: Tanja Raman, Efrosini Voutsina, Iris Costa, Linda Remahl, Rachel Gomme.

Lighting: Charlotte McClelland

Original Sound/Assistant Direction: Nick Parkin

Costume: Gabrielle Csyani Wills and Liz Lea and Dance- Ez International

Artificial Womb prop: Becs Andrews

 

A group piece for five female dancers funded for production and research and development by Arts Council of England, Choreodrome, Dance- ez international, Diva Pictures and Lausanne city museum.  

 

Premiered at the Robin Howard Dance Theatre at The Place, November 2002 and toured to Dartington Studio Theatre and The Playbox Theatre in Warwick.

 

Mutations draws upon embryological imagery and evolutionary theory to reflect upon birth and human/animal parallels. Projections of specimens in formaldehyde fuse with bodes that, inside an imaginary laboratory, become fish, embryo, specimen, torn sometimes violently between life and death.

 

 

Press Quotes:

 

Roties goulish Mutations is as close as dance gets to an anatomical adventure - the company carve a strange and ethereal beauty from their movement material. Rotie is now an accomplished exponent of Butoh - the Japanese dance form which trades on the power of stillness - and the intense physical control that the form demands is evident in the muscular intensity of her choreography. 

                                                                                                Keith Watson/ Metro 2002

 

the emotional, mental images that the dancers provoked were haunting: images that one recalls in one's sleep.  

 

                                                                                                           Total Theatre 2003

Human Zoo Trilogy: 2000/2001

Trilogy of two solos and a duet.

 

' when are we free beings and when are we caged?'

 

Choreography, Performance, Costume and Lighting:

Cosmin Manolescu and Marie-Gabrielle Rotie

Original Sound: Nick Parkin

Assistant Mentoring: Gabriella Tudor

 

Human Zoo parts 1-3 reflected on the relation between human and animal, male and female and explored courtship rituals, social constraints and violence.

 

Funded by British Council in Romania, London Arts Board, Project DCM, ARcub Theatre, Sindan Cultural Foundation, Soros Foundation, Jackson Lane, Moving East Studios and Chisenhale Dance Space

 

Past Touring Dates

Created whilst Choreographer in Residence in Romania,

Human Zoo Trilogy toured to:

Arcub Theatre Bucharest.

 Eurodance festival Iasi Romania.

British Festival in Bucharest curate dby British Council

Jacksons Lane London supported by Arts Council of England

Theatre Masca Festival Romania.  

The Place Theatre as part of Aerowaves/Resolution

Bucharest-west festival, Teatru Odeon, Romania

Lausanne Spring Festival and Lausanne city festival in Switzerland.

King Alfreds in Winchester

Arena theatre in Wolverhampton.

           

 

 

 

'incredibly powerful.. very intense from the first moment to the last, forcing me to hold my breath, giving it total attention.. beautiful and painfully honset.. admitting aspects of themselves and of the universal human which are very uncomfortable.'

 

(P.Markus/Curator)

 

A truly hypnotic blend of movement, lighting and sound - bodies take on an alien almost eerie quality.  

(Human Zoo Trilogy reviewed in Dance Theatre Journal 2000)

 

'I especially liked the third piece (duet), which was clearly inspired by observations of animal behaviour. Like cosmology, evolutionary psychology has a particular power to jolt one into self-consciousnss and awareness of the incomprehensible and strange character of being a person. I had not thought that dance could be such an effective medium to articulate these issues.'  

 

David Gems PHD,  Dpeartment of Biology, Royal Society University Research Fellow, UCL

Flying Chair for Da Vinci: 2000

Solo Choreography, Performance and Film: Marie-Gabrielle Rotie

Original Sound/Assistant Direction: Nick Parkin

Lighting Design: Helen Cain  

 

Rotie spins and sways inside an imaginary forest of gravity, her body pushed and pulled by invisible forces. She transforms between fairytale characters- old woman, child, bird – and builds a nest on a chair, to explore themes of flight. A huge film projection of a feather burning in a candle frames this dark and unusual fusion of film, movement and vocal work.

 

Funded by Japan 2001, Diva Pictures and University of Bath with performances at The Place Theatre, Wandsworth Dance Festival at Battersea Arts Centre, Crosscurrents at Jackson’s Lane, University of North London, Hoxton Hall, Cheshire Dance.

Press Quotes

 

The ghost of Mary Wigman haunts in the shadows

 Carole Kew for Londondance.com  2002

 

An eloquent exploration of momentum, suspension and gravity .. both painful and disturbing to watch but compelling in its madness  

 

The Place Theatre on-line Review 2002

Angel/Animal: 1999

Choreography, performance, Light and Costume:

Marie-Gabrielle Rotie

Original Sound and Assistant Direction: Nick Parkin

Mentored by Kate Flatt.

 

Toured to the  Butoh Mamu Festival in Germany 1999 invited by Tadashi Endo and also showed at Mosaics for Sadler’s Wells and for British Association of Choreographers.

 

Suspended between above and below – a journey from spirit to flesh. This solo was the first of 3 solos to explore transformation between human and animal and to research the meeting of movement and experimental voice.

 

Conceptually, I was inspired by Luce Irigaray's essay 'Divine Women' in Sexes and Genealogies' and I was researching a physical approach to questions around transcendence and immanence.

 

This piece questioned the assumed hierarch and seperation of flesh and spirit.. this results in fragmentation... a wounded animal.

Scapula 1999

Choreography, performance, costume and lighting: Marie-Gabrielle Rotie

Original film: Tanya Syed

Original sound and Assistant Direction: Nick Parkin

 

 

Inspired by Leonardo Da Vinci’s ‘codex on the flight of birds’, this solo was an evocation of a being, caught between the longing for flight and the freedom of falling, in a quest for the spaces of fluidity.  This solo continued my investigation into the writings of Luce Irigaray and in particular her collection of essays in 'Sexes and Geneologies'. In this work I once again sought to resolve the tension between flesh and spirit and to reimagine the relation between transcendence and immanence, above and below, earth and sky. This reimagining was part of wider question of female eroticism and identity.

 

 

Past Touring

 

Four performances in London including Occidental Butoh 1999, Out of Bounds: festival of New Butoh 2001 and toured to various theatres in UK.

Turtle Key Arts Centre, London 1998

chisenhale Dance Space 199

Jacksons Lane 1999 and 2000

University of Scarborough 1999 funded by Yorkshire Dance on tour.

University of Bath 2000 funded by Southwest Arts

Out of bounds Festival of New Butoh 2000 funded by London Arts Board

 

Research and Development funding from Chisenhale Dance Space.

‘There was once a bird who lived in a night forest inside the ribcage of a tree: it always slept with one eye open. One day an Italian scientist walking in the forest noticed its beautiful feathers and captured it in a steel cage. The bird in its distress forgot how to sing.Some years later the bird had a dream in which a fly whispered, ‘The secret of escape lies in gravity. All falling is like flying’. So the bird stopped longing to fly, shed all its feathers and turned into a soft piece of earth that trickled through the cage bard and drifted with the wind into a garden.There, in the cool of the moon the earth grew into a fleshly, fluid flower latticed with memories and naked veins. At its very centre, if you listened very carefully, could be heard a silent song’.

 

(Marie-Gabrielle Rotie 1999)

Eurydice: 1995

choreography, installation, film and performance: Marie-Gabrielle Rotie

Live Violin: Roger Redgate

Opera Singer: Katarina

 

A site-specific installation/performance in an enormous derelict Brixton warehouse.

 

This spectacular show incorporated fire, projected images, recorded text, a snake and an opera singer to explore the themes of the myth of Eurydice.

 

‘Eurydice is the limit of what art can attain: concealed behind a name and covered by a veil, she is the profoundly dark point towards which art, desire, death and the night all seem to lead. She is the instant in which the essence of night approaches as the other night’.  

(Maurice Blanchot)

Fluid Edges 1993

 

Commissioned by Riverside Studios.

Site based performance July 8th 1993  

 

Created and performed by:

Marie-Gabrielle Rotie and Yanna Papaioannou.

Lighting Colin Finlay/riverside Studios

Music: Test Department ' The Fall for Grace' and Lights in a Fat City.

 

Fluid edges took place in the vast St Pauls Church in Hammersmith. A large black box was suspended above the centre of the space which was  then opened to flood the space with blue pigment and feathers.

'Fluid Edges grew out of our experiences of Falling: faliing in the pain of a loss and the passing of time, falling in and out of love, fallen women in exile from a centre'

 

‘The mirror blocks our energies, freezes us in our tracks, clips our wings’ (Irigaray)

 

‘ what my lips were keeping is put into motion, into action, edges which touch each other, communicate with each other, without privileging one or the other’ (Irigaray)

programme notes:

 

'Nightforest/Veiled

Falling Sky/

Ashes of Blue

Foetus Bird on an Edge

Miroloi

rough Edges

Pythiathe

Oracle of the Willow

Veiled/Unveiled

If the feet touched the sky

In a miracle of dreaming and becoming ones own'

 

(Rotie/Papaioanou)

I saw 'Mythic' last night at Rich Mix and it is one of the beautiful pieces I have ever seen.

 

Helena Astbury

 I decided you needed to be a vamp-fan, which unfortunately I am not. So I sat back and tried to enjoy the clawed hands, possessed looks, evil cackles and smeared blood. For the group of young women in front of me, the performers reaching between the legs and gesturing as though licking their own juices was just too much, and there were gasps, squeals and turning away in disgust. The show was stolen by the talented acting abilities of the little evil one whose giggling, whispering, squeaking interludes provoked irresistible laughter in the audience.

 

(Darkness Cycle 2 The Place Theatre February 2009  review by Ballet Magazine)

Tollund Man: 2012

Inspired by the mummified remains of the prehistoric peat bog 'Tollund Man'  in the  museum in Silkeborg the work created during a residency and performed by ten Danish Dancers, reflects upon bodies between suspension, animation and death.