Dance Dramaturgy Reading Club

September 5 to December 12, 2022

Open to all

Monday: 6:30-8:30 pm
in Studio 303 office (#305)

Dates : September 5, September 19, October 3, October 17, October 31, November 14, November 28 and December 12

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We want to propose one specific relationship between theory and practice in dance dramaturgy, in which a practice of reading theory enables dramaturgical intuition. As a loose collective, we’ll be meeting every two weeks to practice reading together—not necessarily about dramaturgy, but in order to build the analytical muscle that dramaturgy requires. Sebastian Kann and Diego Gil will guide the practice. Together, we’ll think through some of the most pressing and exciting issues for dance dramaturgy today, focussing especially on contemporary critical theory and process philosophy.   Readings will be sent up to two weeks in advance, and we will be reading select passages out loud during the meetings. No specific theoretical background is required to participate.  

Sebastian Kann is a dance-maker and dramaturge with a background in circus (ENC). In his practice, he’s busy with things like improvisation, style, attention, writing, value and media, and especially the way all those things circulate, shifting in their meanings as they do so. During his MA at Utrecht University, he looked at the words contemporary dancers use to speak about improvisation in order to parse out what dance improvisation tends to disallow, exclude, or make unsayable. Since 2021, he’s based here in Tiohtià:ke / Montréal.  

Diego Gil is an independent choreographer, performer, and philosopher that studied in Amsterdam at the School for New Dance Development (BA), Das Choreography (MA) and holds a Ph.D. at the Humanities program of Concordia University. He is interested in the potential of somatic practising and process philosophy thinking to shape choreographic dimensions of experience in which degrees of infra and trans subjective feelings can be produced. This choreographic gesture is a speculative-pragmatic exploration of what spaces for research-creation, specific to the performing arts, can become.