Each episode features conversations with artists who are pushing boundaries and playing with form. What is the relationship between your practices 20 years ago and those you have today? How do you write circus? What does it mean to deconstruct and body and language of contortion? What is dramaturgy in this context? How are you working in the community? How does contortion inform non-contortionist bodies?
What does relational ecology look like in the rehearsal process and onstage? What are you currently researching? Trained as a contortionist National Circus School of Montreal, , she draws inspiration from her 20 years of circus practice to reflect on contortion as a philosophical posture and to develop her scenic language.
Her approach, focused on listening, relational ecology and perceptive attention, is part of new body practices emerging from the somatic and performance fields. In , she completed a master's degree on the dramaturgy of prowess at the UQAM theater department. In , she participated in the creation of Cirque OFF, a living manifesto for the biodiversity of circus arts in Montreal Studio It is our duty to establish right relations with the people on whose territories we live and work, and with the land itself.
Show Transcript Hello, and welcome to Push Play, a Push Festival podcast featuring conversations with artists who are pushing boundaries and playing with form. I'm Gabrielle Martin, Push's Artistic Director, and today's episode highlights the dramaturgy of the circus body and relational ecology. She creates transdisciplinary scenic works based on cooperation, listening and relational ecology.
She's also a Push Artist in Residence, and will be sharing her practice through a variety of workshops and consultations for students and professionals throughout the festival. Find out more at our Push in the Community page. I am thrilled to be in this conversation with you today.
