Works

Recent Creations:

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Gaze is a Gap is a Ghost, photo by Jean Luc Tanghe

Gaze is a Gap is a Ghost (2012)

Concept and Choreography : Daniel Linehan
Created and Performed by : Salka Ardal Rosengren, Anneleen Keppens, Maria Ferreira Silva
Dramaturgy : Aaron Schuster
Stage and Light Design : Elke Verachtert
Costume Design : Icaro Ibañez-Arricivita
Design Collaboration : 88888

(70 min)

Gaze is a Gap is a Ghost establishes a dialogue between the visible and the invisible, generating a confrontation between our external knowledge of the world and our internal imaginative life. A video recording taken from the perspective of the dancers gives us the impression that we are looking through their eyes. From the “inside” view, it appears that it is not so much the dancers who are moving, but rather the space itself which is spinning around and turning upside down. In this way Gaze is a Gap is a Ghost poses a series of questions about the relationship between humans and technology, between the real and the virtual. How does impersonal technology influence our ideas of intimacy? How do the digital media influence the way we experience our physical existence? In the end, the performance emphasizes the inevitable and irreconcilable divide separating the dancer from the choreography, separating the human from the structure.

Co-production: Kaaitheater (Brussels, BE), deSingel (Antwerp, BE), BUDA (Kortrijk, BE), Sadler’s Wells (London, UK), Opéra de Lille (Lille, FR), Centre de Développement Chorégraphique Toulouse/ Midi-Pyrenées (FR)
Residencies: PACT Zollverein/CZNRW (Essen, DE), deSingel (Antwerp, BE), STUK (Leuven, BE), BUDA (Kortrijk, BE), Kaaitheater (Brussels, BE), Vooruit (Gent, BE)
With the support of the Flemish authorities (BE), and Arcadi (FR)

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Zombie Aporia, photo by Jean Luc Tanghe

Zombie Aporia (2011)

Concept and Choreography : Daniel Linehan
Created and Performed by : Daniel Linehan, Salka Ardal Rosengren, Thibault Lac
Lighting, Technique : Brian Broeders
Vocal Coach : Jonas Cole
Special Thanks to Bojana Cvejic and Noé Soulier for the dramaturgy

(50 min)

Zombie Aporia is a dance performance that is composed of many small pieces, like a rock music concert, or a book of poetry. The dancers use their voices in order to create an intricate connection between dance and music, so that the dance and the music are both being generated by the very same bodies. The performance breaks down the boundaries that separate body from voice, sound from image, rhythm from meaning. Zombie Aporia seeks to discover possibility within apparently impossible contradictions: music that is the result of dancing, emotional expression that begins physically, spontaneous feelings that are designed, words that give more of a sense of vibration than meaning.

Co-production: Rencontres chorégrapiques internationales de Seine-Saint Denis, Centre national de la danse (Pantin, FR); Centre de Développement Chorégraphique Toulouse / Midi-Pyrénées (FR), in the context of the European project ‘Departs’; Kunstencentrum Vooruit (Gent, BE); BUDA Kunstencentrum (Kortrijk, BE) Residencies: L’Agora, Cité International de la danse, Montpellier Danse (FR); Centre de Développement Chorégraphique Toulouse / Midi-Pyrénées (FR); O Rumo do Fumo & Forum Dança (Lisboa, PT); Kunstencentrum Vooruit (Gent, BE) With the support of the Flemish authorities, Arcadi – distribution

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Being Together without any Voice, photo by Bart Grietens

Being Together without any Voice (2010)

Concept and Choreography : Daniel Linehan
Created and Performed by : Daniel Linehan, Anne Pajunen, Noé Soulier, Anna Whaley
Lighting Design : Joris de Bolle

(28 min)

“…social or habitual, pattern or expression, image or rhythm, detached or within, unified or multiple, random or determined, labor or game, one or both…”

In Being Together without any Voice, the silent interactions of the performers do not resemble the standard grammatical formats of statements, questions, and commands.  If they were to speak, they would use “or-phrases,” phrases that express possibility without asserting anything definite. But the performers do not speak, and they use their voices only when they are alone. The absence of the voice is clearly not meant to bring about a “pure” state before language or beyond language. It is simply a restriction that is meant to reveal different possible ways of being together, ways that are sometimes unfamiliar and sometimes uncannily familiar. What happens when we consider the other person as an object, or the other as ourselves? What happens when we consider ourselves as an object? Or ourselves as an other?

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Montage for Three Photo by Vincent Jeannot

Montage for Three (2009)

Concept and Choreography : Daniel Linehan
Created and Performed by : Daniel Linehan, Salka Ardal Rosengren
Lighting Design : Ise Debrouwere

(25 min)

Montage for Three is a choreography-of-images for two dancers and one projector. It takes its source material entirely from found photographs, both famous and obscure. These images are projected alongside the two dancers, who embody the photographs with the absurd and impossible aim of giving presence to something which is absent. The living/moving/present bodies confront the mechanical/static/reproduced bodies in such a way that the two forms begin to merge and exchange roles. The dancers become a trigger for the viewer’s memory, as the still images begin to take on a life of their own.

Coproduction : P.A.R.T.S. Bruxelles, Rencontres Chorégraphiques Internationales de Seine-Saint-Denis

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Not About Everything, photo by Jason Somma

Not About Everything (2007)

Created and Performed by : Daniel Linehan
Original Lighting Design by : Joe Levasseur
Dramaturgy by : Juliette Mapp

(35 min)

A single body enters the space and begins to turn. The turning begins gently, but it gradually transforms into insane gyratory motion. Within the singularity of his obsessive circular motion, Daniel Linehan introduces a series of variations, accelerations, and subtle shifts, creating a funny and complex dance. He subjects himself to strenuous physical and mental processes involving multiple simultaneous tasks: to speak, think, react, address the audience, etc., without ceasing his perpetual spinning. Linehan tells us that he is not speaking about desperation, endurance, or government policy; he is not speaking about celebrities, virtuosity, or metaphysical problems. Yet even though his words seem to negate, he calls to our attention these issues that evoke a world far larger than his contained little circle. Endlessly spinning around in the center of a shifting network of ideas, Daniel Linehan creates an inverted black hole, a space of disorienting vertigo perhaps, but also a space of thoughtful reflection where all of these ideas can flow and resound.

Not About Everything premiered at Dance Theater Workshop in November 2007, and has since been presented internationally.

Not About Everything was created in part through the Bessie Schönberg/First Light Commissioning Program and Creative Residency Program of Dance Theater Workshop with support from the Jerome Foundation, the Ford Foundation, the National Endowment for the Arts (a US federal agency), the New York State Council of the Arts, and the Jerome Robbins Foundation. This work was also made possible in part through the Movement Research Artist Residency Project, funded in part by the Leonard and Sophie Davis Fund.

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