stridulate - Synapse Arts

Rachel Damon
and Dan Mohr
are about to
blow the old
song-and-dance
routine out
of the water.
Asimina Chremos,
TimeOut Chicago
STRIDULATE
hybrid forms in
voice & movement
stridulate: v. (intrans.) to make a
sound by rubbing parts of the body
together (as crickets do).
Dan Mohr and Rachel Damon began their collaboration in July of
2008, intent on creating a performance outside the trappings of
either of their primary disciplines (music and dance, respectively).
In developing the piece, Mohr was interested in creating musical
performances which are not strictly performances of music—ones
in which elements of movement are as hardwired into the score
as are patterns of sound. Damon sought to unlock a vocabulary of
vocal production both as a partner to and a motivation for movement.
The culminating performance—featuring collaborators/ensemble
members Lily Emerson, Jeff Harms and Erica Mott along with Damon
and Mohr—is an exercise in formalism, integrating choreographed
movement sequences, semi-improvised voice/movement duets,
ensemble singing, and unconventional audience placement. Rather
than impose any sort of narrative content, Damon and Mohr have
structured the piece to allow the highly expressive and entirely
non-verbal vocalizations of ensemble members to interplay with
the movement of their bodies, allowing nonlinear, task-oriented
relationships to come to the fore. Beginning by regarding the friction of
the vocal folds as the primary mode of human stridulation, Stridulate
aims to highlight moments at which vocalization becomes movement
and speech begets gesture, and amplify them to a point where they
articulate an entirely new performance vocabulary.
Stridulate was created with generous support from the 2008 Crosscut Program, a
partnership of Experimental Sound Studio and Links Hall. This project is partially
supported by a Community Arts Assistance Program grant from the City of Chicago
Department of Cultural Affairs and the Illinois Arts Council, a state agency.
created &
directed by
Rachel Damon
Dan Mohr
ensemble
Rachel Damon
Lily Emerson
Jeff Harms
Dan Mohr
Erica Mott
lighting design
Joshua Weckesser
costume design
Jessi Taylor
creators
A 2005 graduate of Columbia College Chicago (BA Theater Design/Production,
Dance Minor), RACHEL DAMON performs, creates, designs, and manages dance
and performance. She is a founding member and the Artistic Director of Synapse
Arts Collective. Rachel currently works as the Technical Director and Production
Stage Manager at Links Hall, and as Production Manager and Collaborator with
Molly Shanahan/Mad Shak and select Chicago Dancemakers Forum Lab projects.
Her work with choreographer/director Erica Mott delves into dark subjects, and she
finds illumination when designing lights for contemporary and aerial dance, video,
and plays by the Neo-Futurists. Rachel also teaches movement classes with the
Chicago Park District through the Chicago Moving Company and is Operations
Manager for Dance Chicago. Featured in Dance Spirit Magazine for her career
which bridges onstage and backstage, Rachel is a recipient of the Crosscut Grant
(with her collaborator Dan Mohr), and the Albert P. Weisman Memorial Foundation Award for Choreography. As a
Dance Lab Artist at the Chicago Cultural Center, Redmoon Theatre commissioned Rachel to create the criticallyacclaimed The First Sound, a voice and movement installation. She continues her mission to uncover blends of
movement and voice with Stridulate, and as an Artistic Associate for Links Hall’s ‘09-’10 season, where she and
Dan Mohr are curating Collision Theory—a series that brings together novel pairings of notable musicians and
dance artists for monthly improvised performances.
Singer, composer, musician and performer DAN MOHR received a BA in
composition and voice from Bennington College in 2000. Through the course of his
education, he studied and performed with Meredith Monk, Lynn Book, Amy Williams,
Tom Bogdan, Dana Reitz, Allen Shawn and many others. He is an accomplished
ensemble singer, having performed with the New Orleans Symphony Chorus, and
having toured extensively through Europe and North America with Vermont-based
traditional polyphonic singing institution Northern Harmony/Village Harmony. He
has worked extensively with Split Pillow, an independent film production company
in Chicago, scoring, writing, directing, and designing productions for motion
pictures including soulMaid (2006) and The Christians (2008). He has performed
and collaborated in theatre, dance-theatre and experimental performance with
such notable artists as TimeOut Chicago dance editor Asimina Chremos, writer/
director Brian Torrey Scott, artist/writer Mary Walling Blackburn, and songwriter Azita Youssefi. As a resident
artist at Links Hall in 2007, he developed Guns, Aloe—an evening-length one-man performance that spawned
his first solo record, also called Guns, Aloe (2009, DRP). As Links Hall Artistic Associates, he and collaborator
Rachel Damon are curating a series called Collision Theory, in which novel pairings of notable musicians and
dance artists will meet for monthly improvised performances. Dan plays and sings in an assortment of bands and
ensembles, including critically acclaimed Chicago trance-drone collective DRMWPN (Dreamweapon), Relaxation
Record, and Box of Baby Birds. In October of 2008, he joined former Head of Femur singer Matt Focht’s band
playing keyboards supporting Conor Oberst & The Mystic Valley Band on a tour of the midwestern US. In his
spare time, Dan runs a freelance graphic design service—yes.I.said Print and Promotional Design—and is writing
his second record, If You Let People Walk All Over You, Do You Become a Place?
ensemble
LILY EMERSON is a Chicago-based performer, teacher,
and sometime puppeteer. Over the past few years she
has developed a series of original performance works
with her theatre company, Lucid Street Theatre, and
its collaboration with The Anatomy Collective as Lucid/
Anatomy. These works have included a solo exploration
of one zombie’s journey from primordial ooze to fullon man-eating madness in 2009’s Monster/Girl; the
surreal, ensemble-devised dreamscape that was 2008’s
A Humechanical Nightmare; and the deteriorating series of solo vignettes that
made up 2007’s i’m worried my body is falling apart. She is serving as movement
director and ensemble leader for her current project, Gone, or ‘Who is it That Can
Tell Me Who I Am?’—an original performance piece about the loss of memory and
identity. She explores improvisation as a contributor to Wednesday Night Prayer
Meeting, a weekly meeting of Chicago-based experimental movers. Lily was
recently awarded a 6-month LinkUp residency at Chicago’s Links Hall for their
‘09-’10 season. More information about her work can be found at lucidstreet.org.
JEFF HARMS is a performer and musician from Chicago
and Seattle. He has an MFA in performance from The
School of the Art Institute of Chicago and has trained
in Viewpoints, Butoh, and Shurtleff, and has studied at
the Old Town School of Folk Music and Goat Island’s
Summer School. He has performed live collaborative
and solo experimental theater all over chicago and has
toured the US twice as a solo music act. He has two
albums of original music: The Myth of Heroics (2008)
on DRP Records and Big Amazing Songs (2006) on Naïveté Records. Jeff is
also a teacher of drawing and video and a maker of narrative and documentary
films. He co-produced and played the lead in the film A Thing As Big As The
Ocean, which won IFP’s $50,000 Finishing Grant in 2008. His animated short,
The Bite has played at festivals internationally, including The National Film Board
of Canada’s “Best Animation of 2007,” the Strasbourg International Film Festival,
Globians Doc Fest in Berlin and Potsdam, and The Backup Film Festival at
Bauhaus University. Jeff also co-produced the film Oh My Soul, which has just
begun its festival tour at the International Film Festival Rotterdam.
ERICA MOTT is a performer, director, and deviser
whose work is particularly inspired by observation of her
immediate environment. Through mask, clown, butohinspired movement and site-specific performance, she
attempts to capture and heighten the magic, mystery
and tragedy in everyday activities and interactions. She
endeavors to find universality in these actions and her
performance that may be communicated across social,
economic, and cultural boundaries. Locally, Erica has
performed with Synapse Arts Collective, Blair Thomas and Company, Redmoon
Theater, Storybox, and Local Infinities Visual Theater as well as several national
and international organizations including MUKA Theater Project, Johannesburg,
RSA Washington Improv Theatre and the Living Stage. She’s taught for
Lookingglass Theater, Northeastern Illinois University’s Teacher’s Center and
The Second City Training Center as well as devising specialized workshops and
curriculums for numerous Universities, corporations and community groups. To
see more, visit www.ericamott.com.
designers
JESSI TAYLOR is a graduate of
Columbia College with a degree
in theatre design. Jessi enjoys
designing for Synapse and has
been doing so since 2006. When
Jessi is not designing she dances
with Blue Cat Tribe and Read My
Hips.
JOSHUA PAUL WECKESSER is
a Chicago-based lighting designer,
production manager and stage
manager. Working primarily in
circles of dance, Josh’s designs
have been seen across Chicago,
the US and international borders.
Josh works closely with Molly
Shanahan/Mad
Shak
Dance
Company as a lighting designer
and core collaborator on the two
year project Eye Cycle as well as
My Name is a Blackbird, among
others. Josh is also lead Lighting
Designer/Stage Manager for the
annual Dance Chicago festival,
Production
Manager/Lighting
Designer for the Chicago Human
Rhythm Project, Lighting Director
for River North Chicago Dance
Company and Jump Rhythm Jazz
Project. Josh has also worked
closely
with
Chicago
based
companies such as DanceLoop
Chicago, Corpo Dance company,
and Inside Dance Project among
others.
press,
accolades
...fun,
innovative
and all-around
bad-ass
movement and
vocal work.
Sarah Best
http://trailerpilot.com/2009/06/13/syntaxdiction/
by Zachary Whittenburg
http://chicago.timeout.com/articles/dance/75291/resonant-bodies
by Asimina Chremos
http://tinyurl.com/newcitystridulatehoyer
by Sharon Hoyer
touring components
Performance
Stridulate: hybrid forms in voice and movement is an evening-length ensemble work with five
performers. The 60 minute performance encompasses lilting and grotesque vocalizations, visceral partnering, and extra-lingual communications of the voice and body.
Stridulate was generated by a multi-year process that endeavored to treat voice and movement
as equal compositional elements of a performance. We set out to expand the vocal capabilities
of movement practitioners by joining the deep anatomical layers of the voice with outward corporal actions, while developing material that treated the two forms simultaneously. This mission
is evident in the performed work and are also teachable through our workshops. Please refer to
the next page for a breakdown of performance fees.
Stridulations Workshop
Employing our original generative exercises and our repertory, participants learn vocal and
movement material simultaneously, effectively connecting their “body memory” with the action
of vocalizing. Improvising solo and in small groups, participants build skills in varying the quality
of their voice and movement, responding to material set forth by others, and creating structures
that include both sound and action.
This exploratory workshop can be taught in one 3 hour session or over two days for a total of 6
hours. The two-day format allows for the participants to complete an overnight assignment that
they will perform the following day. Participants in this workshop may range from beginner to
advanced, though experience with improvisation is encouraged.
The Stridulations Workshop is led by co-creators Rachel Damon and Dan Mohr, with support
from the Ensemble Members. Costs include all fees payable to the artists. The workshop necessitates an open, acoustically friendly room with a smooth floor (vinyl or wood preferred), ipod/
cd player playback and an electrical outlet. Water/Refreshment should be provided by the presenter. Venue or room rental costs are not included in the fees below, and are the responsibility
of the presenter.
1 Day Workshop: $500
2 Day Workshop: $750
Hybrid Compositions Workshop
Focusing on the creation of new performance material, this laboratory asks the participants to
approach composition in new ways. Partner improvisation tasks blend movement and voice,
striving for repeatability and the development of a structural thinking. We then move on to larger
group structures that set up primary and supporting events, layering vocalizations and actions.
For intermediate to advanced students of voice, music, movement, theatre, and improvisation.
The Stridulations Workshop is led by Co-Creators Rachel Damon and Dan Mohr, with support
from the Ensemble Members. Costs include all fees payable to the artists. The workshop necessitates an open room with a smooth floor (marley or wood preferred) and an electrical outlet.
Venue or room rental fees are not included in the fee below.
3 Hour Workshop: $500
costs, fees
The Stridulate Ensemble is amenable to negotiating with individual presenters compensation arrangements appropriate to their venue/institution. The information below outlines expenses and costs incurred by a full, week-long engagement of the Stridulate Ensemble by your venue/institution. The figures below are based on the National Performance
Network’s fee structures for a one-week residency, and are in large part negotiable.
Artists’ Fees
Rachel Damon: $625
Dan Mohr: $625
Ensemble Members (3): $500 each, total $1500
Subtotal: $2800
Production Personnel
Stage Manager/Lighting Director: $500
Production Equipment
Flooring rental, if necessary, cost TBD
Seating rental, if necessary, cost TBD
Lighting rental, if necessary, cost TBD
Please see Technical Rider for more information.
Marketing
All marketing may be provided by the Presenter. Additional marketing, in the form of postcards or posters may be provided by the Artists at costs that will vary according to demands of a venue’s specific market. The optional hiring of a
Public Relations firm will incur additional costs to be negotiated.
Travel
Travel for 6 persons, including 5 Ensemble Members and the Stage Manager. Travel may be arranged by car (distance
dependent), train, or airplane. Inbound travel may occur on the same day as load in. Outbound travel may occur on
the same day as a workshop, but not on a performance day.
Accommodations
Accommodations for 6 persons, as above, including three females, two males, and a Stage Manager. Shared rooms
are acceptable. Facilities must be secure and include a full western-style bathroom.
Per Diems
$35 per day per person- $210 per day
A Monday-Sunday engagement, with the following Monday as a travel day, includes 6 full days (Tuesday-Sunday) and
a half day (inbound travel day).
Subtotal: $1365
Workshops
1 Day Workshop- $500
2 Day Workshop- $750
Workshop venue to be provided by the Presenter.
technical rider
Synapse Arts Collective and its artists, employees, and contractors are included here as “the Company”.
General Information
Stridulate: hybrid forms in voice and movement is an ensemble piece with five performers. The main components of the piece
are bodies and voices, and so the space is defined by dance flooring, lighting, and seating arrangement. The piece is somewhat
modular, and therefore can be performed in lengths ranging from excerpted 15 minute segments up to the full-length 60 minute
version.
Below specifications are given by United States standards, with the understanding that adjustment will be necessary for venues
in other countries.
1.
VENUE:
• Dance performance venue – white vinyl dance floor preferred. Black vinyl, wood flooring or other smooth
surface is workable. Floor should be sprung or of wooden base.
• Stage dimensions can range in size, ideal size is 40’x 30’ including audience seating on same level as performance
floor.
• Secure dressing room for five performers (mixed genders sharing dressing room is permissible)
• Capacity for 20+ seats
2.
SETTING:
• Flexible or movable seating is preferred. Sheer white fabric screens, provided by the Company, may be hung. One to
five screens may be requested.
• Please provide all relevant and existing drawings of the venue. If drawings are not available then a site visit may be
necessary.
• The use of the physical space is an important part of the project, pictures should be provided of the venue.
3. LIGHTING:
There are two possible levels of presentation here. The beta version is more often employed as a touring package.
All lighting requests are flexible.
To be supplied by the presenter:
Alpha Version
• 48 x 2.4k dimmers (DMX controlled)
• ETC Lighting console
• 10 x ETC Source Four 50 degree (575w)
• 20 x ETC Source Four 36 degree (575w)
• 10 x ETC Source Four 26 degree (575w)
• 30 x ETC Source Four WFL PAR (575w)
• 2 x 8’ threaded boom pipe
• 2 x 50 lbs boom base
• Appropriate house lighting system
Beta Version
• Four lighting directions (front, back, side, side), with dimming capability
• 3 ETC Source Four specials with all lens train options
• 4 channels of floor-mounted side lighting
• Company may elect to travel with a lighting console
A lighting plan will be provided by the Company at a date TBD by venue PM.
4.
SOUND:
To be supplied by the presenter:
Alpha Version
• A set of two full range speakers on each side of the stage to be used as the main fill. (note, if the house is large enough
that more than two speakers are traditionally used, please contact the Stridulate Production Manager)
• Appropriate amplifiers and power
• CD playback (must accommodate CDR)
• Two microphones, wireless preferred
• 4 channel output board (minimum)
Beta Version
• No recorded sound used
5.
COSTUMES / PROPERTIES:
To be supplied by the venue:
• 1 x Costume Rack
• 1 x Iron + Ironing Board
• Washing machine and clothes dryer
6.
CREW
• Set up and strike crew: 3 Crew members for electrics, flooring, seating
• Light plot, scenic fabric, and seating should be installed prior to arrival, to specifications provided by advance drawings.
• A focus call will be managed by the lighting director upon arrival.
• In a non-union house, the Company’s Stage Manager will operate lighting and audio equipment during rehearsals and
performance.
7.
SCHEDULE
• Performance duration: 60 minutes with no intermission. For inclusion in festivals or mixed programs, piece length may be
reduced to 15 minutes.
• Lighting focus and tech rehearsal should take one full day. Holding a dress rehearsal that evening is workable, but is preferred to be the following day when time allows.
• Load in to first performance (of the Alpha version) should be at least one day.
• Technical rehearsal to first performance (of the Beta version or excerpt) may be same day.
• The space should be made available before tech rehearsal begins in order to make technical changes.
• A private studio on location should be reserved for pre-performance physical and vocal warm-up
• A more detailed schedule will be negotiated between the Venue and the Company, specific to each venue.
• Post-show discussions, if desired, will be limited to 30 minutes. In countries wherein English is not the primary language, discussions will require an English translator.
8.
Dressing Rooms / Miscellaneous
• A private bathroom must be furnished for the performers. Facilities will include Western-style toilets, sinks, and showers
with hot and cold water.
• Presenter will provide the company’s Stage Manager with emergency medical services addresses and phone numbers.
• Bottled water, tea, and coffee will be provided at the venue.
Synapse Arts Collective is an interdisciplinary
performance group which emphasizes
collaboration and artistic development. Synapse
works create sensory experiences which immerse
observers in the artwork. Find out more at
www.synapsearts.com.
artistic director
Rachel Damon
neurotransmitter
Aurora Tabar
axons
Allyson Esposito
Erica Mott
Margaret Nelson
Lauren Warnecke
photography by Marzena Abrahamik
design by yes.I.said, [email protected]
© 2009 Synapse Arts Collective,
all rights reserved.