I’m drawn to the duet form for many reasons. But if I were forced to get right to it, I find duets particularly meaningful in that the process is a rare opportunity to create a history with another person that often supersedes the performance of relationship.
In my duet research, I’ve usually taken part in co-authoring the dance with my partner. Dancing in and making a duet subverts the usual role I play as a choreographer, a contributor somewhat detached who shapes structure and form from the outside (looking in). So then, how would you identify and shape structures that are deeply felt from the inside, not necessarily seen through the lens of an outsider?
A Duet / Binarium / Hold Sway
Choreography and performance by Noelle Chun & Leigh Lotocki
A Duet (study)
Binarium (video dance/documentation)
Hold Sway (evening length)
“The opening of the piece introduced text that suggested—among other things—that there was the possibility that there were already many duets happening, and that this duet would continue even after the performance was over. this duet is simultaneously so strong and so sensitive. Both Chun and Lotocki demonstrate such a heightened sense of where their bodies are in space, each joint and surface and ounce, how it shifts on and around its supports, and how it gives way to find support beyond itself, in the body of the other. I glimpse some of the many ways in which we and our world partner one another, each of us becoming more in and through the encounter. material intra-activities, intersubjective realities, each of us—and I do not only mean the people—become apparatuses through which we are all extended and reinvented, in ways both small and big. these are the manifold duets, and certainly they continue far beyond the performance.” – Michael Morris
“The complex and fluid performance precipitate cascading questions, asking deeply of what are we made, how do we come in contact, and how that transforms our knowing, of ourselves and others. Woven with an ethereal score and shadow play through screens, movement sections are at once dream-like and raw-intimate portraits.” – Shawn Schulte