THE ELSEWHEN SERIES
Performed and created by: Theo Clinkard and Leah Marojević
'Modern day romantics, period dramas, projecting the present, practicing elsewhere and elsewhen, a series of day dreams and escapisms into alternatives via nature and her animals.’
Five stand alone duet scores which take their through-line from the Romantic era and the values they embodied as protest against the mechanical and industrialised world that was emerging in Europe at the beginning of the 18th Century.
Imagination, awe, intuition, nature, spontaneity and the soulmate.
Theo and Leah continue the work of the Romantics to soften modernity by physically defending the dream space, practicing passion, questioning productivity, allowing intense emotionality back into spontaneous decision making and practicing a child like faith as a way of seeing.
These duets use the imagined to transcend present time and space. By retreating back in time to child like sensibilities as well as back through history to a romantic disposition, Theo and Leah bring the invisible tangents, spontaneous wanderings and powerful yearnings of the heart and mind into the visible realm through repetition, ritual and the naive belief that the body doesn’t have to be here, it can be elsewhen.
Each score rejects catharsis, clarity and climax - they rather persist in a perpetual looping of time, transporting themselves and audiences to an alternative reality where, like the romantics, the imagined is essential when in distrust of the human world.
Romanticism embodied "a new and restless spirit, seeking violently to burst through old and cramping forms, a nervous preoccupation with perpetually changing inner states of consciousness, a longing for the unbounded and the indefinable, for perpetual movement and change, an effort to return to the forgotten sources of life, a passionate effort at self-assertion both individual and collective, a search after means of expressing an unappeasable yearning for unattainable goals.” - Isaiah Berlin
This Bright Field
Top 10 Dance - Observer critics' review of 2017 - Luke Jennings’s best dance of 2017
'...Leah Marojevic in This Bright Field by Theo Clinkard. Shockingly joyful.'
"There is no hierarchy in play here, but an extended solo by Leah Marojević offers a rush of sheer delight. Halting and stuttering, falling and turning, blissfully serene in her nakedness, Marojević transmits a fallible and unmediated joy that is surely the essence of Clinkard’s intention." - Luke Jennings, The Guardian Observer ****
"Before long, the theme of the gaze becomes apparent, as the captivating Leah Marojević and Stephanie McMann sit alone, twitching: an installation illuminated as their fellow performers observe them from the shadows. The following chapter is arguably even more primal. A nude Marojevic writhes and stumbles, a naturalistic comment on a material world, accompanied by a scrunched foil bedding of sorts. She bites and hits herself; gestures of bodily dissatisfaction." - Charlotte Constable, Southeastdance
Concept, direction and design: Theo Clinkard
Artistic Collaboration: Leah Marojević
Realisation and performance: Leah Marojević, Stephanie McMann, Meri Pajunpää, Natalie Corne, Crystal Zillwood, Temitope Ajose-Cutting, Luke Divall, Mathieu Geffre, Nick Coutsier, Colas Lucot, Pau Aran Gimeno, Sam Kennedy (Antonin Rioche, original cast)
Sound composition and performance: James Keane
Vocals: Archie Keane
Lighting design: Guy Hoare
Costumes: Rike Zöllner
'Clinkard and his company of twelve exceptional dancers, have crafted a dance event in two distinct parts that imaginatively reorientates the audience to consider the subjective and objective gaze and experiences of togetherness. In Part one, the audience are invited in small groups to share the stage with the performers as they deftly collapse and expand a maze of screens to direct and edit the audiences’ experience of their dancing. Within the miniature worlds created, time slows as captivating and unrepeatable exchanges between the performers elicit an atmosphere of intimacy and care. In Part two, Clinkard’s choreography takes to the full stage on a cinematic scale. Back in the auditorium seats and with the familiarity of individual dancers still in mind, the audience witness the twelve-strong cast navigate a series of social and choreographic conditions. Degrees of agency within the group setting are explored as visceral terrains of movement, sound and imagery gradually build in momentum until This Bright Field, powered by connectedness, becomes a highly visual and emotional experience.'
Of Land and Tongue
"The dancers are uniformly excellent, with Leah Marojevic, in particular, emerging as an awesome talent." - The Guardian Observer ****
Choreography / Design: Theo Clinkard
Composition / Music: James Keane
Lighting Design: Guy Hoare
Performance: Sofie Burgoyne, Leah Marojević, Francis Christeller, James Keane, Camilla Brogård-Andersen, Luke Divall
Costumes: Wolf and Gypsy Vintage
Choreography / Costume / Set Design: Theo Clinkard
Perfomance: (cast of 6) Leah Marojević, Luke Divall, Sofie Burgoyne, Francis Christeller, Theo Clinkard, Camilla Brogaard Andersen, Helka Kaski, Charlie Morrisey, Maho Ihara, Laila Diallo, Adam Blanch, Margarita Zafrilla, Alessandra Ruggeri.
Light Artist: Zerlina Hughes
Score: Scarletti performed by Clíodna Shanahan
Sound: Alan Stones
somewhat still when seen from above
“The dancers perform with a radiant precision, but it is in the transcendent thread of the Vaughan Williams solo that Clinkard encapsulates the double dynamic of his choreography, drawing us into the intimacy of the dancers’ interactions, but also imposing a distance, as if observing from a bird’s-eye view. Sitting in the packed theatre, I doubt I was the only one to imagine the spirit of Bausch was observing them, too.” - The Guardian
Comission from Tanztheatre Wuppertal Pina Bausch Neue Stucke 2015
Choreography and stage design: Theo Clinkard
Aristic Collaboration: Leah Marojević
Sound: James Keane
Costume: Rike Zöllner
Performance: Pina Bausch Company Dancers
Images: Detlef Erler
'somewhat still, when seen from above considered ephemerality. What might remain when so much of what we experience is in a constant state of dissapearance? What kind of imprint might we leave in the minds and bodies of others when we are no longer presenent? The work featured nine performers and nince technicians of the company and was set to an original score by James Keane which incorporated 'The Lark Ascending' performed live on solo violin. Clinkard's design for the work included a landscape of six meter almunium ladders, atop which, the technicians created an weather system of clouds.'
The Listening Room
'The work’s charm lies in its seeming spontaneity. It is rather like watching the weather as we see the dancers drift into a quietly private headspace or clump into riotous choruses whose music we can only imagine.' - The Guardian
Comission for Danza Contemporanea de Cuba through the British Council as part of ‘Islas Creativas’ (Creative Islands) initiative between British Council and DCC 2016
Choreography and Costume Design: Theo Clinkard
Artistic Collaboration: Leah Marojević
Performance: Danza Contemporanea de Cuba Dancers
Sound: Steve Reich 'Variations for Vibes, Pianos and Strings'
Images: Adolfo Izquierdo
'The Listening Room is a celebration of expressive and instinctive dancing. As the performers in headphones respond to an alternate soundtrack of wildly diverse music and text, the piece invites the audience to create their own relationships between what they hear and what they see.'