Untitled Danspace (March 2011) 30 minutes Created and performed by Aynsley Vandenbroucke in collaboration with Brian Rogers Music by Mike Rugnetta and Frederic Chopin Lighting Design by Carol Mullins Videography by Jenny Holub Commissioned by and performed at Danspace Project, NYC Part of PLATFORM 2011: Body Madness Part II: Rhythm & Humor curated by David Parker
Untitled is a written dance. It plays with the choreography of words, the movement of ideas. Aynsley tries to come to terms with the big gaping why of entering a studio alone to make a dance. Questions are plentiful. Answers not so much. "Thoughts about dance and our relationship to art are gently, poetically presented." Roslyn Sulcas, The New York Times.
Made possible, in part, by the Danspace Project 2010-2011 Commissioning Initiative, with support from The Andrew W. Mellon Foundation as well as Production Residencies at Danspace Project at St. Mark's Church supported by The Andrew W. Mellon Foundation as part of CW2
A Number of Small Black and White Dances (2009) 50 minutes Choreographed by Aynsley Vandenbroucke with the performers Performed by Gudbjorg Halla Arnalds, Cheri Paige Fogleman, Djamila Moore, Aynsley Vandenbroucke, and Kristen Warnick Music Composed by Mike Rugnetta Lighting Design and Word Animation by Nelson R. Downend, Jr. Line Animation by Myra Margolin Costumes by Liz Sargent Videography by Johannes Holub ( at Dance New Amsterdam, NYC ) Additional Video: end excerpt and full dance
A Number of Small Black and White Dances "builds off repertory from the past eight years. Fragments of pre-existing dances rub edges like the pieces of white paper (some with words like 'touch' and 'begin' printed on them) arranged and then strewn across the stage.This is no highlights program, but a tender reimagining of the past, and a sophisticated rumination on how an ephemeral art form can survive while staying true to its fragile, mutable essence." Claudia La Rocco, The New York Times A Number of Small Black and White Dances was commissioned by Dance New Amsterdam and was created with support from the Manhattan Community Arts Fund.
3 Dancers, 4 Chairs, 26 Words (2009) 40 minutes Choreographed by Aynsley Vandenbroucke with the performers Performed by Djamila Moore, K. Tanzer, and Kristen Warnick Lighting Design by Nelson R. Downend, Jr. Costumes by Liz Sargent Videography by Jenny Holub (premiered and filmed at CPR- Center for Performance Research, Brooklyn, NY )
Formal and stark, 3 Dancers, 4 Chairs, 26 Words unravels the language of movement, symbols and words. Growing out of just 26 words, the piece asks if a dance with text can retain the open and direct nature of pure movement. Can words be abstract? How do choreographic structures change sentences and sounds? How does grammar affect movement? How do words move? Finally, what are those aspects of human experience that cannot be pinned down and named?
Experiment with Dancer and Lines (Video 2008) Created in 2005 3 minutes Dancing by Aynsley Vandenbroucke Animation by Myra Margolin Music by J.S. Bach (The Well Tempered Clavier performed by Glenn Gould) Videography by Mathew Pokoik (filmed at Mt. Tremper Arts)
Experiment with Dancer and Lines is a collaborative journey between one dancer and a number of life-sized animated lines. The projected, minimal lines reveal the dancer, partner with her, and ultimately transform into stars falling around her.
And How Should I Begin? (2007) 50 minutes Choreographed by Aynsley Vandenbroucke with the performers Performed by Djamila Moore, Dawn Springer, Kristen Warnick Sound Design by Geoff Gersh Lighting Design by Nelson R. Downend, Jr. Costumes by Liz Sargent Videography by Jenny Holub (filmed at Baryshnikov Arts Center, NYC)
Inspired by T.S. Eliot's "The Love Song of J. Alfred Prufrock," this piece is a journey through the world of human connections and missed connections. Made up of many short vignettes, it is a conversation between poetry and movement. Link to another video clip here.
Full Circle (2006) 46 minutes Choreographed by Aynsley Vandenbroucke with the performers Performed by Cheri Paige Fogleman, Djamila Moore, Aynsley Vandenbroucke, Kristen Warnick, and Molly Wilson Live viola and electric boomerang by Leanne Darling Live percussion by John Wieczorek Light Consultation by Nelson R. Downend, Jr. Costumes by Naoko Nagata Videography and Editing by Jenny Holub (filmed at Mt. Tremper Arts and Baryshnikov Arts Center, NYC) Lit entirely by flashlights and performed with only one row of audience members arranged in a circle surrounding the performers, Full Circle plays with perception and investigates community, circles, cycles, and light. A highly original event, Full Circle works well in non-traditional spaces, inside or out.
Below The Skin (2004) 48 minutes Choreographed by Aynsley Vandenbroucke with the performers Performed by Cheri Paige Fogleman, Janice Lancaster, and Dawn Springer Live viola and electric boomerang by Leanne Darling Lighting Design by Nelson R. Downend, Jr. Costumes by Naoko Nagata Videography by Jenny Holub (filmed at Lincoln Center Institute's Clark Studio Theater, NYC)
Below The Skin is a multifaceted movement and music exploration of the question "What is it to give everything?" The dancers and musician ask: What is it to give your all in rehearsal, in performance, in rest, in work and in play, physically, emotionally, honestly?
After Fall (2002) 35 minutes Choreographed by Aynsley Vandenbroucke with the performers. This duet performed by Liza Domnitz and Dawn Springer. Entire piece performed by Caroline Adams, Kim Craigie, Liza Domnitz, Cheri Paige Fogleman, Janice Lancaster, Djamila Moore, Dawn Springer, and Molly Wilson. Music by Ensemble Venance Fortunat and Schola Cantorum Coloniensis. Lighting by Nelson R. Downend, Jr. Costumes by Naoko Nagata. Videography by Jenny Holub (filmed at Lincoln Center Institute's Clark Studio Theater, NYC)
After Fall is a quiet and contemplative piece that grew out of the time surrounding September 2001. The movement is understated, panning between intimate duets and sculptural ensemble work. Exploring resilience, subtlety, and the relationships between religion and dance, it is a piece that invites the audience into introspection and silence.
