28 Nov 2020 12.15 (CET) Conversation: with Oona Doherty, Kelina Gotman a.o.
Moderated by Olympia Bukakkis.
Oona Doherty is an Irish dance artist based in Belfast. She has been performing dance-theatre internationally since 2010 with various companies, including: TRASH (NL), Abattoir Fermé (BE), Veronika Riz (IT), Emma Martin/United Fall (ROI), Enda Walsh & Landmark Productions (ROI). Doherty’s distinctive and visceral choreography has sparked international attention, earning her multiple awards, She has forged a wide range of artistic relationships locally and internationally. The Rubber Bandits (2017-2019). Jamie XX I dont know (2020), Art night (2019/20) British Art show / Hayward gallery (2021) So far she has produced highly acclaimed works. Her solo work Hope Hunt and the Ascension into Lazarus (2015) was Tiger Dublin Fringe Festival Best Performer Award in 2016 and the winner of the Total Theatre Award at the Edinburgh Fringe in 2017. Oona Doherty was voted one of the top 10 Irish Artist in 2017 by the Irish Times. She created her first group piece Hard to be Soft – A Belfast Prayer in 2017, which was then voted UK dance show of 2019 by the Guardian. She created Lady Magma: The Birth of a Cult in 2019.
2020 / 2021 will see Oona Doherty’s first collaboration with (La) Horde, collective at the helm for Ballet National de Marseille (FR). She will also develop ideas for a new ambitious work to be premiered in 2022. Oona Doherty was one of the Aerowaves 2017 selected artists, a Prime Cut Productions REVEAL Artist and The MAC Theatre Belfast HATCH Artist in 2016-17, an Associate Artist at Maison de la Danse de Lyon (FR) in 2017-18, an Associate Artist at La Briqueterie Vitry-sur-Seine (FR) in 2017-19. She is Dublin Dance Festival Artist in Residence in 2020 to 2022.
Kélina Gotman is Reader in Theatre and Performance Studies in the English Department at King's College London, and author of Choreomania: Dance and Disorder (Oxford University Press), Essays on Theatre and Change: Towards a Poetics Of (Routledge), co-editor of Foucault's Theatres (Manchester University Press), and translator of Félix Guattari's The Anti-Oedipus Papers (Semiotext(e)/MIT Press), as well as plays and other texts, including Marie NDiaye's The Snakes (Cue Press). She writes regularly on critical and cultural theory, history of ideas, philosophy of science and medicine, performance, dance, including choreographic practices broadly construed, translation, language, writing, and more, and has worked internationally in theatre and other genres, for museums, festivals, and collaborations across media and critical platforms. She is currently editing the four-volume Theories of Performance: Critical and Primary Sources (Bloomsbury), and a co-edited volume on performance and translation, as well as working on new writing articulating practices of truthful speech and critical care. She was Hölderlin Guest Professor in Comparative Dramaturgy at the Goethe-Universität Frankfurt, Visiting Professor at the School of the Art Institute of Chicago, and has held other visiting or guest positions at the Slade School of Fine Art, Cornell University, and Bard College.