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I work mainly with small groups of artists, exploring ideas through a variety of media to create performances. Each work I make is about finding a resolution between the
compositional factors, in this case, predominantly between the ideas and the dancer.
I was aware of someone who seemed to be so angry and frustrated that he was immobilised. The study is an exploration of that situation.
I thought of the heart, as an intersection of reason and emotion, the centre of judgement. I used these ideas as a foundation to generate the material.
I wanted to create the feeling of uncertainty and express a tightly constrained wildness.
I explored my interest in improvisation whilst simultaneously developing formal structures and choreography.
I found that the juxtaposition of improvisation and choreography presented a particular challenge, which meant Polly Matteson and I were involved in discovering a working language, articulated and bound by the mental agility of the dancer.
We also explored the idea of audience and performer as a permeable surface, their
interconnectedness and how one can affect the surface of the other.
The score is set and progressional in sequence but improvisational in timing and, to some extent, content. The study has its own pulse, and is determined by the dancers decisions.
Charlotte Hacker, 2010
Charlotte Hacker trained at London School of Contemporary Dance in the early 1980s. She lives and works in Bristol, UK.
She was a member of the renowned and experimental Extemporary Dance Theatre and Micha Bergese’s Mantis Dance Theatre working with choreographers such as Lloyd Newson, Michael Clark, Ian Spink, Richard Alston, David Gordon and Katie Duck. Since then, she has been, teaching performing choreographing and directing on projects that encompass pop videos, fashion shows, operas, contemporary dances, films, drama and improvised theatre.