Meg Stuart

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Meg Stuart (born 1965 in New Orleans) is an American Choreographer and Dancer based in Brussels, Belgium. She is one of the key figures in the European and International contemporary dance world Goldberg, RoseLee (2000). "ArtForum". ArtForum. 

Biography

Meg Stuart (U.S.A.) is a choreographer and dancer living and working in Brussels and Berlin. In 1986 she received her BFA in dance at New York University and continued her training following classes in Release technique and Contact Improvisation at the dance laboratory Movement Research (New York). In the 1980s Stuart worked as a dancer with Nina Martin, Lisa Kraus, Federico Restrepo and Marcus Stern, and from 1986 to 1992 she was a member of the Randy Warshaw Dance Company, where she was also assistant to the choreographer.

On the invitation of the Klapstuk festival in Leuven, she created her first evening-length piece Disfigure Study, which launched her choreographic career in Europe. Stuart founded her own company Damaged Goods in 1994 and made Brussels her artistic home. She collaborated with many artists, including Pierre Coulibeuf, Philipp Gehmacher, Ann Hamilton, Gary Hill, Benoît Lachambre, Jorge León and Hahn Rowe. Residencies in Schauspielhaus Zürich (2000–04) and Volksbühne am Rosa-Luxemburg-Platz Berlin (2005–10) led to collaborations with theatre directors Stefan Pucher, Christoph Marthaler and Frank Castorf. Since 2010 Meg Stuart/Damaged Goods initiated a new collaboration with the Münchner Kammerspiele where next year’s production will premiere at the end of April 2012.

With Damaged Goods, Stuart has created more than twenty productions, ranging from solos to large-scale choreographies and including site-specific creations and installations. Over the years she has initiated and taken part in several improvisation projects. She curated the festival Intimate Strangers (Berlin 2006, Brussels 2008, Toulouse 2011 and Ghent 2011) with performances, concerts, installations and lectures by artists related to Damaged Goods. Her work has travelled a wide international theatre circuit and has also been presented at Documenta X (1997) in Kassel and at Manifesta7 (2008) in Bolzano. Stuart also teaches workshops in a variety of contexts.

Meg Stuart received the Mobil Pegasus Award at the Sommertheaterfestival in Hamburg (1994) for No Longer Readymade; the Culture Award of the Catholic University of Leuven (2000); the German theatre prize Der Faust (2006) for her choreography of Replacement; the French Prize of Criticism (2008) for Blessed; a special prize for Maybe Forever at the Bitef Festival in Belgrade (2008); a Bessie Award in New York (2008) for her body of work; a Flemish Culture Award in the category performing arts (2008); the Konrad-Wolf-Preis for exceptional accomplishments in the arts (2012).[1]

Selected Works

  • Disfigure Study, 1991
  • No Longer Readymade, 1993
  • Swallow my yellow smile, 1994
  • No One is Watching, 1995
  • Inside Skin #1 They live in Our Breath, 1996
  • Splayed Mind Out, 1997
  • Remote, 1997
  • appetite, 1999
  • Comeback, 1999
  • Snapshots, 1999
  • Highway 101, 2000/2001
  • Alibi, 2001
  • Henry IV, 2002
  • Visitors Only, 2003
  • Das goldene Zeitalter, 2003
  • Forgeries, Love and other Matters, 2004
  • Der Marterphahl, 2005
  • REPLACEMENT, 2006
  • It's not funny!, 2006
  • Blessed, 2007
  • Maybe Forever, 2007
  • All Together Now, 2008
  • Die Massnahme/Mauser, 2008
  • Do Animals Cry, 2009
  • the fault lines, 2010
  • VIOLET, 2011

Bibliography

  • Though Damaged Goods' work has yielded a lot of critical response, many questions remain unanswered when it comes to Stuart's views, issues, methods and collaborations that underpin her performance work. How does choreographer Meg Stuart create work? In the book Are we here yet?, Stuart reflects on her own practice in dialogue with Jeroen Peeters (ed.) and several (former) Damaged Goods collaborators. Mapping out genealogies and collaborations, Are we here yet? revisits meaningful moments in Stuart's artistic trajectory, drawing different lines through the work from Disfigure Study (1991) to Maybe Forever (2007). It contains observations on making and performing, discussions about improvisation and dramaturgy, essays and visual contributions, a manual with Stuart's exercises, and a selection of documents and performance texts. Are we here yet? is a container brimming with memories, projections, reflections and images close to Stuart's choreographic practice, a heterogeneity of materials that have a certain gravity of their own and won't cease to resonate and stir up new questions.

Editor: Jeroen Peeters Graphic design: Kim Beirnaert Published by Les presses du réel (Dijon, France), March 2010, 19 x 24 cm (softcover) - 256 pages.

Are we here yet? ISBN 978-2-84066-354-6 On va où, là? ISBN 978-2-84066-323-2

Further reading

External links

References

  1. ↑ http://www.adk.de/de/blog/index.htm?we_objectID=31360
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