Touring Repertory

There Might Be Others – Premiering at New York Live Arts March 16-19, 2016

“Seven expert performers have access to a collection of movements, rules, possibilities, tasks, and games. So we see them making decisions, influencing one another, taking various risks—all of which they do very smoothly and with intensity of energy and focus.”-Deborah Jowitt, Arts Journal_D3S1165

There Might Be Others evolves from the tradition of open scores wherein the dancers compose the work in performance within a dynamic set of rules, contingencies and games.  Loosely based on Terry Riley’s seminal aleatoric score, In C, this piece begins with a series of movement modules that range from virtuosic gestures and task based prompts to audience interactions.The choreography unfolds as the individuals respond to changing situations and chance encounters.  At one moment quiet, the next boisterous, the work is filled with juxtapositions as the dancers choose how, when, and where to perform preset gestures.

For more information see There Might Be Others

Coming Together/Attica (55 Minutes)

“Such beauty in the midst of the worst of atrocities was captured by recent performances of Coming Together / Attica by Frederic Rzewski with original choreography by Rebecca Lazier. It was simply impossible to be physically disconnected from this performance.” David Pearson, I Care if You Listen 

Listed by Eva Yaa Asantewaa as one of 2013’s most memorable art experiences.

julie_lemberger--7782Coming Together/Attica, a collaborative work by choreographer Rebecca Lazier with the inimitable proto-punk ensemble Newspeak, explores the seminal and controversial work of composer Frederic Rzewski. Hailed as “outstanding” (New York Times), the music and movement of Coming Together/Attica juxtapose finely wrought structural directives with impulsive individual improvisations. The energy unleashed by these counterpoised forces drives both Rzewski’s score and Lazier’s choreography with “bruising intensity” (Lucid Culture). The interpretation of the score by the inimitable and “fierce” (Time Out) ensemble Newspeak, led by David T. Little, combines classical, jazz and rock’n’roll influences and features a female vocalist. Rzewski’s propulsive and stirring companion pieces Coming Together and Attica are influential classics of early-‘70s minimalism and although they were inspired by the riots, Rzewski does not dictate an ideology in the piece, he invites the listener to create his or her own meanings, as does the choreography. Read more reviews

5TOURING: Coming Together/Attica has been presented in Greece at the Moni Lazariston Festival in Thessaloniki and the Patras International Festival, sponsored by the American Embassy in Athens. The piece is touring to Shenandoah Conservatory in February 2015 and has been presented by Live Art Dance Productions and Scotia Festival of Music. The work can be presented in a black box, raw, or proscenium space and is performed by 6 dancers and 8 musicians (or a recording.) Tech rider is forthcoming. The choreographer and technical director travel with the work. There are many opportunities for audience engagement across disciplines: discussions about the history and context of the score, workshops in the compositional processes employed in both the dance and music; panels on collaboration; or Q&A about the role of art that reflects political events.

julie_lemberger--7171VIDEO: Short Documentary of Performance at the Patras International Festival in Greece July 2014 by The American Embassy in Athens:

Highlight video from The Invisible Dog, New York City:

Full Length video from The Invisible Dog, featured in IK-00, Spaces of Confinement, Architecture Biennale, Venice:

DOWNLOAD ONE SHEETRebecca_Lazier_ComingTogether-Attica

julie_lemberger--6817“Rebecca Lazier’s new 50-minute “Coming Together/Attica” has an exciting immediacy. Its structure gives it drama. So does its action, which comes extremely close to the audience….staggering degrees of violence in partnering: on several occasions one dancer hurls another to the floor with alarming force. The excellent six performers, admirably diverse in physique, are outstanding.… Mr. Riener can take minor details of footwork and give them startling urgency. And the power and glow of Mr. Mitchell’s movement are thrilling.” From Captivity to Liberty, Punctuated by Violence 
by Alastair Macaulay in New York Times

 I Just Like This Music

IDSC_0239_2 Just Like This Music (Music: Pytr Ilich Tchaikovsky) shifts from uniform, formal and performative to individual, free and intimate. I Just Like This Music was initially developed without a musical score to focus on creating movements and phrases that disrupt perceivable patterns. The romantic and consonant score provides a backdrop of expectations and set of ideals to question how a dance could subvert sonic expectations, clichés, and pervading paradigms of movement and musical syntax.

“Full of cool sensuality” Gia Kourlas, The New York Times … “It requires a lot of guts to remake a big, famous work with big, famous music by a big, famous choreographer; kudos to Lazir and her dancers for taking on the challenge! Totally cool!” Margaret Fuhrer, Dance Spirit Magazine

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Terminal (22 minutes)

Terrain_BD_032_Terminal (Music by Gregory Spears, Canons After Maurice Ravel) shifts dramatically between the dreamlike and the recognizable, between a sensory environment that is overwhelming and one that is subtle,and attempts to recall for the audience long-forgotten and vaguely remembered moments in their individual pasts. Audience members are enclosed in the same sound and light environment as the dancers. The music begins with a low-fi wash of drones produced by small tape recorders held by the dancers. As the sound builds, fragments of Ravel’s Bolero melody emerge. They vanish again as the drone transforms into a dense C-major howl with grainy synthesizer pedal-tones rounding out the sound. Eight video projectors immerse the space in 360 degree images. Michael Clarke’s design alternates drawing our attention to the dancers and to the alien, haunting and earthly worlds projected. Aaron Copp’s lighting furthers the concept that each section of the dance takes place in a different environment.

“Lazier’s choreography—its emphasis on sudden movement that pulls back, at an instant, into contained control—transcended to create a real and recognizable portrait of an emotional moment.” Jacqueline Barba, Explore

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