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14—15 March 2020
10am-2pm

Dancehouse, Upstairs Studio

Price: Starting from $90 for members

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A 2 day composition workshop focussing on what happens when ideas and techniques which come from music are translated into movement, and vice versa.  Drawing from 30 years of experience of working as a composer and performer in the dance and theatre world, Matteo Fargion will propose exercises which use extreme reduction of possibilities to stimulate the imagination.  Questions about how to find material, how to keep something going, what makes a strong or a weak change and other compositional ‘problems’ will be discussed. Participants will also explore ways in which music and movement can co-exist on stage without falling into too familiar relationships.  This workshop is for anyone interested in making performance work, and musicians are welcome, but not obliged, to bring in their instruments.


Dancehouse 2020 Keir Choreographic Award Public Program

Presented by Dancehouse in partnership with Abbotsford Convent, LGI/WYXZ, Temperance Hall, Chunky Move, The Commons/Fringe, University of Melbourne/Victorian College of the Arts, The Mill Adelaide

Dancehouse’s Keir Choreographic Award (KCA) Public Program accompanies the KCA competition and is an integral part of this initiative and of Dancehouse’s ongoing commitment to promote dialogue, reflection, accessibility and criticality for the art form, its makers and its audiences. It aims to cross-pollinate an array of outstanding thinkers and practitioners from the dance field and other communities of thought  in order to provide a unique context in which to consider the deep, subtle ways that dance, with its multiplicity of choreographed and embodied manifestations, connects to the social, the ethical, the political and as importantly, to our most inner selves.


 

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Matteo Fargion was born in Milan in 1961 and is currently based in London. He studied composition with Kevin Volans and Howard Skempton. His interest in contemporary dance began in the late 1980s when he saw the Merce Cunningham Dance Company perform at Sadlers Wells in London.  This experience encouraged him to apply for the International Course for Choreographers and Composers, where he first wrote music for dance, and through which he met the choreographer Jonathan Burrows, with whom he has collaborated for 30 years. Fargion has also written music for theatre, mainly in Germany,  for several productions directed Elmar Goerden, and Thomas Ostermeier at the Schaubühne Berlin. He has collaborated with many choreographers including Siobhan Davies, Russell Maliphant, Lynda Gaudreau, Noé Soulier and Mette Edvardsen (Oslo) . In 2017 he was commissioned by the Berlin based dance company Dance On, to make their debut piece, 7 Dialogues, which toured widely. Fargion is active as a teacher and, apart from leading several workshops each year,  is a long-time visiting member of faculty at P.A.R.T.S, the school of Anne Teresa De Keersmaeker in Brussels. He has developed an approach to teaching composition to choreographers, set within a framework of music practice but also built on his wealth of experience as a performer. Recent work includes The Solo Piece, a dance solo for himself, premiered at the Labor Sonor Festival in Berlin in December 2018, a collaboration with Karl Jay Lewin on the  dance quartet Extremely Pedestrian Chorales, writing music and performing inClaire Croize’s Flowers (we are), and We Have to Dress Gorgeously, a punk opera made with Andrea Spreafico for the Borealis Festival Bergen.  His second collaboration with Mette Edvardsen, Penelope Sleeps, premiered at the Kunsten Festival Brussels in May last year.

The Keir Choreographic Award Dancehouse Public Program is presented by Dancehouse in partnership with City of Yarra, Abbotsford Convent, Faculty of the VCA and MCM | University of Melbourne, Temperance Hall, Chunky Move, Lucy Guerin Inc., Common Rooms and The Mill. Dancehouse would like to warmly thank the Keir Foundation for making this public program possible. Accomodation proudly supported by City Tempo.

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