Dancehouse stands on what always was and always will be Aboriginal land. We pay our respects to the traditional owners of this land, the Wurundjeri peoples of the Kulin Nation, to their Elders past and present, and acknowledge that sovereignty was never ceded.

The real time it takes…

Rosalind Crisp

'DIRt (Dance In Regional disaster zones)' (2020). Rosalind Crisp. Photo by Lisa Roberts.
Thu 31 August — Sat 9 September
8pm, Thu 31 August – Fri 8 September*
3pm, Sat 9 September

Full: $35
Concession: $25
Members / Locals: $20
MobTix: $15

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*No performances Mon – Wed

3pm performance on Sat 9 September will include a post-show In Conversation facilitated by Olivia Millard.

Watch the post-show In Conversation facilitated by Olivia Millard.


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Voilà! Rosalind Crisp brings us her version of the retrospective.

The ‘Mick Jagger’ of Australian dance, is back. Still looking ‘wiry, scrapy and dangerously unpredictable’*, this demon of contemporary dance has never stopped. One of Australia’s most rigorous and significant dance artists, celebrates 40 years of relentlessly undoing dance.

‘..devastating, intelligent and profoundly embodied… Crisp, at the height of her powers, proves that the most exciting Australian dancers are not the young and athletic, but dancers with decades of knowledge and experience, who are still discovering why embodiment is so vital today’.**

*Deborah Jones The Australian 1/6/2007

**Rennie McDougall The Monthly 02/2019

“Even now she can’t get no satisfaction. She must keep moving and inventing. What is a retrospective if not the creation of a new myth? So embrace the marketing hype, get over to Dancehouse and revel in the presence of this dancer who might also be a rock star.” – ★★★★ The Age  3/9/2023

“Why does Crisp keep going? Because what she communicates is important.” – Gracia Haby, Fjord Review 7/9/2023

The real time it takes is a generous and profoundly social performance experience, that not only offers us so many glimpses into the astonishing body of Ros’ choreographic work, but it invites us all to reflect on where we are, where we were, how we are, and how to go on.” – Lizzie Thomson 7/9/2023

Choreographer/Dancer: Rosalind Crisp
Collaborator/Operator Light & Sound: Andrew Morrish
Collaborator/Choreographic Video Artist: Phoebe Robinson
Historical Companion/Memory Expert: Lizzie Thomson
Video Operator: Sam Mcgilp
+ Special guest performer(s)
Production: Omeo Dance Inc.

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Rosalind Crisp has maintained a solo and collaborative, studio research practice for 40 years, at Omeo Dance Studio, Sydney, which she founded in 1996, at Atelier de Paris, Paris where she was Associate Artist for ten years, and now at the Orbost Studio for Dance Research which she founded in 2021 with partner Andrew Morrish. Since the late ‘90’s her works are developed with a multi-disciplinary team of long term artist-colleagues (dance, sound, light, scenic framing, writing). Guest artists from around the world join the core team for specific projects. Since 2017, her solo and collaborative works have engaged with the environmental devastation occurring across her home country of East Gippsland, interacting with science & local knowledge to develop complex aesthetic responses. Performative outcomes are contextual, from low tech in-the-bush or studio sharings with local communities, to large scale theatrical works for urban audiences.

In 2015 France made her a Chevalier de l’Ordre des Arts et Lettres (Knight/dame of the Arts).

Phoebe Robinson has danced in works by Sandra Parker, Rosalind Crisp, Lucy Guerin, Judith Walton, Joanna Pollitt, Frances D’Ath, Neil Adams and Kota Yamazaki. As inaugural Housemate Resident at Dancehouse in 2008, her solo work Only Leone was nominated for an Australian Dance Award. She has presented her works in Australia and internationally since 2000. Her current interest is in applying choreographic strategies within digital filmmaking. As research toward her PhD in Choreography at the VCA, University of Melbourne, Phoebe filmed, directed and edited a multi-channel screendance titled Mimeisthai. This work featured in Dance (Lens) at Dancehouse in 2021, and at Kings Artist Run Initiative in 2020. Phoebe has published essays on dance, including ’45 Degrees’, co-written by Judith Walton for Flow: Interior, Landscape and Architecture in the Era of Liquid Modernity and ‘Learn to Unlearn’ for Runway Experimental Art Magazine Issue #36 DANCE, edited by Lizzie Thomson.

Andrew Morrish is one of Australia’s legendary improvisation masters. He began improvising with Al Wunder’s “Theatre of the Ordinary” in Melbourne in I981. In 1987, he formed “Trotman and Morrish” with Peter Trotman. They performed their unique improvisational duets throughout Australia and the US for 17 years. Between 2000 and 2020 he performed solo improvisations extensively in Europe and Australia and taught thousands of students. He is also sought after as a facilitator (Australian Youth Dance Festivals, Aust National Dance Forum..). From 2008 – 2013 he was Visiting Research Fellow at the University of Huddersfield, U.K. In 2016 he was awarded the Australia Council for the Arts Dance Fellowship. In 2022, from Orbost, he performed “take Five or More”, a series of 53 weekly solo improvisations (on zoom and live) as a celebration of his 40 years of improvising.

Lizzie Thomson is a choreographer, performer and writer living on unceded Gadigal and Wangal lands. Over the past 20 years, Lizzie has performed throughout Australia and Europe with numerous artists including Rosalind Crisp, Mette Edvardsen, Agatha Gothe-Snape and Jane McKernan. Lizzie started dancing with Ros in Omeo Dance Studio Sydney 25 years ago, and in Sydney, Paris and Berlin from 1997-2007. In 2021 after a 13 year hiatus, she began delving with Ros into their shared history. Her writing on dance has been published in books including Time has fallen asleep in the afternoon sunshine about a project by Mette Edvardsen (2019), In Perpetuity about a project by Ivey Wawn (2020), Performing Process: Sharing Dance and Choreographic Practice about choreographic methodologies (2018), as well as numerous articles in journals and exhibition catalogues. She has guest edited journal issues on dance for Runway Australian Experimental Art (Issue #36 DANCE) and for Critical Dialogues (Issue #9 DANCE/VISUAL/ART).

Dr Sam Mcgilp is a new media artist based on Wurundjeri country in Naarm. He creates collaborative modes of making with performers through playful experiments in new media that expand the potential dramaturgies of live performance. Sam’s body of work includes performance (Running Machine – Arts House – 2022), hybrid digital/performance works (Body Crysis – The Substation – 2022), films (Body Pipelines – Sydney Opera House – 2023, Bonanza! – Chunky Move – MIFF 2021), and contributions to discourse (Taipei Performing Arts Center’s Adam Lab – 2021, ANAT Multiplicity Conference – 2022).

Sam has worked extensively in collaborative contexts including with NAXS Future (Taiwan), Lu Yang (China), and Kazuhiko Hiwa and Makoto Uemura (Japan), as well as with celebrated contemporary Australian artists. He completed his PhD at RMIT University working with Chamber Made, investigating digital artworks that share an artistic inquiry with live performance works. This research was awarded the Vice Chancellor’s PhD Scholarship and the Emerging Scholar Award (Arts in Society Conference).

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. It is generously supported by the School of Communication & Creative Arts, Faculty of Arts & Education, Deakin University and by the Centre National de la Danse, Paris. Developed at Orbost Studio for Dance Research, East Gippsland, Critical Path Sydney, and Dancehouse Melbourne. Special thanks to Olivia Millard and Ashley Dyer.

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