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Excerpts from Chez Bushwick

5 minutes from the residency showing at Chez Bushwick in August, with Edith Freyer, Keith McDermott, Sarah Sandoval, Austin Selden and Saori Tsukada.

Art Southampton Kick-off Party

We were invited to perform an excerpt of Fall of the Rebel Angels at Beth McNeill and Jeff Muhs’ Annual Summer Soiree on July 5 2013, in Southampton, NY. I was there representing the Watermill Center Residency Program – a true honor indeed. Three collaborators jumped in for the project on short notice: Matty Davis, Alice MacDonald and Sarah Sandoval. We packed in 6 rehearsals at Chez Bushwick, where I’m currently in residence, during the week leading up to the show. We used these 6 rehearsals to cobble together a new piece consisting of existing Rebel Angels material, and new material created in collaboration with the new performers. Edith Freyer, Austin Selden, and Saori Tsukada helped teach some of the material created at Watermill during our residency there in February, a series of duets and trios. When we arrived at the performance site, Alice, Matty, Sarah and I arranged the material into a cohesive whole, incorporating environmental elements (the pair of horn-shaped marble sculptures, the grass playing surface, the trees, the dark night air of the countryside, a child’s bicycle.) Adam Bach designed the sound, using pieces created at Watermill, as well as an older piece created for Study#3.

It was a real treat to build the piece on location (we rehearsed from 4pm-1am the day before, and from 3-7pm the day of the show). I am deeply grateful to Alice, Matty and Sarah for your beautiful work, dedication, and for putting up with my fastidiousness, to Kirstin Kapustik and Maciej Lukaszewicz of the Watermill Center for hosting us and for making this happen, to Beth McNeill and Jeff Muhs for inviting us to make a piece on their property and for throwing such a kick-ass event, to Deb Verhoff for documenting, to Tom and Richard for photos.

Here are some photos of the performance, as well as some snap-shots from behind-the-scenes.

These photos by Tom Kochie:

 

And these photos by Richard Lewin:

 

Behind-the-scenes:

excerpt from Judson performance

Here’s a 2-minute excerpt from our recent performance of Fall of the Rebel Angels Study #4b, performed at Judson Church on April 1st 2013, through Movement Research. This was a new cast, a new configuration and we had only three rehearsals. The performers are Edith Freyer, Alex Romania, Austin Selden, Saori Tsukada, and Buck Wanner, and they did an incredible job with the material especially given the limited time. Experiencing the piece in that space, from the back of the room as I hovered over Adam Bach while he mixed the sound, I was surprised by the increase in dramatic intensity created by this new combination of elements: a church space, the size of the shadows, Austin’s solo, the organ that Adam added to the music. Adam really wanted an organ, because of the organ already housed at Judson, currently unplayable.

performers: Alex Romania, Saori Tsukada, Edith Freyer, Austin Selden and Buck Wanner

excerpt from:
Fall of the Rebel Angels Study 4b
Movement Research at the Judson Church
Judson Memorial Church
April 1 2013

Sound design: Adam Bach
Choreography: Catherine Galasso
Video Documentation: Victoria Sendra

sneak peek from Watermill

Fall of the Rebel Angels, Watermill Residency 5 min excerpt from Catherine Galasso on Vimeo.

Video by Victoria Sendra
Watermill Center February 23, 2013

FALL OF THE REBEL ANGELS

a project by Catherine Galasso and Brent Green
performed by Edith Freyer, Honey Jernquist, Mel Lee, Mickey Mahar, Bessie McDonough-Thayer, Austin Selden, and Saori Tsukada
sound design by Adam Bach
special thanks to Jeremy Olson

Created with support from the Bossak-Heilbron Charitable Foundation, the Watermill Center, the Artist-in-Residence Program at Dance New Amsterdam, ODC Theater San Francisco, USA Projects, and numerous individuals.

Watermill Rehearsal Photos

All photos by the talented Victoria Sendra

A Handful of Dust at Santa Barbara Contemporary Arts Forum

Triptik_GalassoCAF2013

photos by Sam Green

Right on the heels of Watermill residency I went off to Santa Barbara to create a new piece for the Contemporary Arts Forum. Curator Heather Jeno-Silva invited me to create a performance for the CAF galleries, in response to the current exhibition, A Handful of Dust. Dancer Mickey Mahar came with me, and we created a 30-minute piece in 2 days, based on some sketches that we started at Watermill. While this piece is separate from Fall of the Rebel Angels, it feels very much informed by this research, and will inevitably influence Rebel Angels going forward. You can hear some of Adam Bach’s original score in the video below (his piece is sandwiched between Phil Phillips and Soulwax).

The piece started with a list of ingredients, something I had not tried before, but came out of the the necessity of needing to make something very quickly. From my notebook on the plane:

At least one moment of extreme physicality. One moment of virtuosity, one moment of hilarity (we get actual laughs). One moment of musicality (of actual choreography to music). One fancy lighting trick. A moment where the audience falls asleep. Some suffering, and a reward. We always know what to do, especially in moments of extreme unknowability. A moment when they want to dance with us. Some awkward sexy moment, that’s genuine at the same time. Whoever we are, we must change over time. Become more of ourselves, less of ourselves, become larger than life (giant shadows) and smaller than loose change (lost and scattered on the ground beneath peoples’ feet). We are alone and together. We are professionals. We are entertainers.

Galasso_CAF2013_©RobertRedfield

I’d like to think that the exercise made things clearer. We performed the piece on March 7 2013, and here are some photos from the show by Robert Redfield: redfieldpictures.com

Video

Jazz Totems and Saori gets licked

these totems dominate the rehearsal studio at Watermill. there is no ignoring them. Kat wanted to make the totems dance. we didn’t end up using this material, because the world of the piece was evolving in a way that there wasn’t room for this kind of ham. but Kat still loves it. the tastelessness of it. how it shifts so abruptly, how primal it becomes, how it’s simultaneously tender and disturbing. how Austin backs out of the frame.