New creation for Candoco Dance Company
Premiere 3rd October 2019
New creation for TinArts, Talent Hub
Premiere 30th November
THE ELSEWHEN SERIES
Performed and created by: Theo Clinkard and Leah Marojević
Images by: Roswitha Chesher
'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.’
Across five duet scores, Theo and Leah continue the work of the Romantics by embodying their values to soften the industrial, question productivity and physically defend the dream space. Conceived to be stumbled upon by audiences in unconventional spaces, these strikingly designed duets bring the spontaneous wanderings and powerful yearnings of the heart and mind into the visible realm through duration, repetition and the naive belief that the body doesn’t have to be here, it can be elsewhen.
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
Available for touring from April 2019
- The Elsewhen Series has been conceived to be as low-fi as possible and generally require no light or sound technical support and also no sprung floor or dance mats.
- The full series can be programmed but each duet can exist as a stand alone work. With each organisation, we will discuss which scores feel appropriate to that setting.
- These are durational works, a suitable length for each context is also up for discussion.
- One duet requires a dark space and for another we will use our own portable UE BOOM Bluetooth speakers.
- Each duet has a distinct costume design element or extraordinary visual component
- Each performance score would be 'happened upon' rather than have specific performance times - like they are living in the space as works of nature.
- We envision that audience will be involved in various ways with each of the duet scores, ie that we might be moving quickly through populated spaces / audience will be in close proximity to a duet score that is more located in one place
Instagram: @TheElsewhenSeries #TheElsewhenSeries
Supported by Wainsgate Dances, Dance Research Studio, The Place and Studio Wayne McGregor through the FreeSpace programme
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.'