Dancer Audition

Stephanie Schober & Dance Company are looking for one male dancer to join the company for the development of Tracing Gestures into a site-sensitive performance event. Professional performance experience is essential.

Rehearsals will take place for 6 full weeks in London, on 5 - 9 and 12 - 16 December 2016, 9 - 13 and 16 - 20 January 2017, 6 - 10 and 13 - 18 February 2017, with performances at Greenwich Dance on 17 - 18 February 2017. Dancers are paid a weekly fee of £450.

Please send your CV and a short statement why you would like to work with us to info@stephanieschober.co.uk by Friday 25 November 2016.

Touring

Finally 'Tracing Gestures' performances are in full swing, so far at the Jerwood DanceHouse at DanceEast in Ipswich and at Fabrik Heeder in Krefeld in Germany. Lighting designer Jackie Shemesh is doing a great job at helping me to frame the work,  to keep the details visible and to maintain an inviting atmosphere on these larger and more formal stages. I am so happy to finally be able to present this work to audiences and grateful for all the encouraging feedback and interesting post-performance talks and conversations we had so far.

I liked this comment from one audience member in Krefeld:

'Its a challanging but really rewarding kind of viewing that you are asking from your audience, you have to picture yourself inside of the work, imagine what this feels like. If not you only get half of the experience'.

Working with dance students at TrinityLaban

Juan Guerra and myself have taken another opportunity to collaborate and to further explore our meeting points between drawing and movement. We have created a short work entitled Debris with the third year dance students at TrinityLaban.

Thurs 20th & Fri 21st October, 7.30pm
Bonnie Bird Theatre
TrinityLaban at Creekside
London

Residency at Dance 4/ Nottingham

As part of our residency at Dance 4 we had the opportunity to share work-in-progress with an audience who came to the studio on Thursday 14th January 2016.

We have been working on one of the images that document face movements and sensations, press/ blow/ suck/ bite. The surface used was a table. It was great that our sharing was attended by a mixed audience which included some visual artists, who shared their thoughts about the way we used the art materials. An interesting discussion emerged also about the quiet, detailed and intimate nature of this section and whether and how its scale could be changed without losing its quality.