Dragon's Egg Studio
Dragon's Egg Studio
Dragon's Egg Studio
Dragon's Egg Studio
Dragon's Egg Studio

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Elm City Dance Collective in Residence at the Egg!

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In the house!!   December 2 – 4.  Yay!

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Elm City Dance Collective was formed in 2008 by four dance artists—Lindsey Bauer, Jennifer Brubacher, Kellie Lynch and Emilia VandenBroek—with the intention of creating a stronger, more vibrant home for contemporary dance in the greater New Haven area. The founders envisioned a non-profit organization that would create unique contemporary dance experiences in New Haven such as classes and workshops for movers and non-movers alike; after school programs for middle school age children; open studio showings and improvisation jams; and innovative dance productions that inhabit traditional to non-traditional spaces. ECDC has extensively performed throughout Connecticut and New England and has been presented by the Mystic Aquarium, the International Festival of Arts and Ideas (New Haven), Charter Oak Cultural Center (Hartford), Rhode Island College, Roger Williams University (RI), Frazier Festival (Providence), Creative Arts Alliance of Baltimore, Artspace New Haven, The Arts Council of Greater New Haven, and the Department of Traffic and Transportation to name a few. ECDC has received state and local funding from The Connecticut Office of the Arts, The Community Foundation for Greater New Haven, The Arts Council of Greater New Haven and The City of New Haven’s Department of Arts, Culture and Tourism to support the creation of work and services the organization provides for the community. 

 

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ECDC is committed to contributing to the presence of dance as an accessible public art, collaborating with artists and organizations in the New Haven area, providing performance opportunities to professional and sometimes non-professional dancers. The organization welcomes partnerships, collaborations and projects outside of the New Haven region as well as within the region. www.elmcitydance.org
 
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Mid Winter Acro Yoga at the Egg

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Acro Yoga Winter Warm-Up!

Workshops at Dragon’s Egg in Ledyard CT

401 Shewville Rd, Ledyard CT
New 4 week series added!

$25 per drop in or save with all 4 weeks for $85!

Register: https://squareup.com/store/molly-heart-yoga

 

6-8 pm Thursdays
December 22

December 29

January 5

January 12

 

Warm up this Winter and play at this fun yoga workshop! Expand your practice, increase your strength, stamina and confidence. Hone your body awareness, strengthen the core, and improve your balance with a yoga flow, and then it’s time to play! Learn to go upside down with inversions like handstands and headstands. Fly your partner and be flown! A safe, community atmosphere for ages 11+, from newbie to seasoned yogi.

Register online : https://squareup.com/store/molly-heart-yoga

Contact mollyheartyoga@gmail.com or call 860-961-8627 for questions.

 

Molly Murkett Bruno is a yoga teacher passionate about incorporating recreation and relaxation into a healthy lifestyle. She integrates positive intention into yoga classes to empower students for personal development and improve the quality of life. She teaches restorative, gentle, vinyasa, and acro yoga at studios and locations in Southeastern CT.

Gina Bonati returns to the Egg, with Elizabeth Schmuhl

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Gina Bonati was born in New Orleans, lived various places and finished high school at Mission High in San Francisco. In 1981 she moved to New York City to attend The Juilliard School. She studied with Hanya Holm, Anna Sokolow, Hector Zaraspe and Alfredo Corvino and was allowed by special permission of Harold Stone to be part of the drama department where she studied with John Stix and Timothy Monich. She studied music with Robert Dennis and Theater History with the philosopher, Maurice Vallency.  She studied acting with Sharon Chatten for 6 years.

 

It was while attending Juilliard that she discovered the anathema wage earning world of go-go bars and danced scantily clad all over New Jersey, New York City, Queens and Brooklyn in The Baby Doll, The Pussycat Lounge, Gallagher’s, Billy’s Topless and The Wildfire.

 

She has been creating her own work since 1982 in dance, language and installation. Titles include Emergence Sea, Hunger & Visits (H&V received critical acclaim from Jennifer Dunning of The New York Times), The Miraculous Development of a Child, Bird #1 through 8. Collaborators include Kenneth King, Elizabeth Castagna, Paul Skiff, Ellen Harvey. Works have been presented in New York at The Kitchen, Dancespace at St Marks Church, DIA Foundation for the Arts and have traveled to Mexico, Denmark, Sweden and Italy. A modest selection of her work is in the dance collection at The Lincoln Center Library for The Performing Arts.

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She writes poetry and poetry stage and screenplays, sings and; recites with music and musicians, paints and draws, studies voice, singing, speech, piano and music in a few ways including improvisation, composition, literature, history and theory.

 

She was a member of Kenneth King and Dancers, Sally Silvers and Dancers, Errol Grimes Group, Alan Good Dance, Jane Comfort Group, Wyoming and Otux. 

 

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Amongst her astonishingly fortunate opportunities, she has had the privilege to attend company class in both The Merce Cunningham Dance Company and American Ballet Theatre. She is a member of the Actors Studio. She is a teacher.

 

 

She holds a BFA in Dance from The Juilliard School, an MFA in Dance from Mills College and is pursuing a second MFA in Music from The Mills Music Department and Center for Contemporary Music.

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Elizabeth Schmuhl is a multidisciplinary artist who trained with Eileen Cropley –Martha Graham & Paul Taylor Companies – and went on to work with artists such as Lauri Stallings, Peter Sparling, Alonzo King, and many others.  She has performed works by Paul Taylor including Esplanade, Promethean Fire, Scudorama, and The Rite of Spring, and creates movement video poems in collaboration with other artists. She has written grants for Gallim Dance, and will study at her second Batsheva Intensive this winter with Ohad Naharin. Her genre-bending text, Presto Agitato: A Dictionary of Modern Movement (Dancing Girl Press & Zoo Cake Press) seeks to communicate and embody the connections between language, music, and movement. She frequently writes about dance, movement, and performance for Michigan Quarterly Review.

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Residency: The Shapes We Make With Our Bodies

 

The Shapes We Make With Our Bodies Cover


The Shapes We Make With Our Bodies
by Meg Whiteford
Honey, our protagonist, is on the run from both her past and her present; avoiding questions about love, bodies, language, and the extents of all three. But her friends—the impish Maenads—refuse to just let her escape.The Shapes We Make With Our Bodies is a feminist, queer, maximalist piece—spanning caves, hills, courtrooms, and kitchens—about a woman torn by her desires, unwilling to bend to the needs of men, yet hesitant in the face of her wildness.

Meg Whiteford (Playwright) is an author, essayist, and critic. She is a contributing writer for ArtForum and a the Managing Editor of the Art Book Review. She has shared writing with RedCat Theater, Harlequin Creature, Aperture Magazine, Steve Turner, PAM, Pieter Space, MAMA, The Torrance Art Museum, Coaxial, WCCW, and 356 Mission in LA; Pocket Utopia in NYC; and Living Copenhagen in Copenhagen, Denmark. She is a 2015 Juniper Scholar, a 2015-16 REEF Residency awardee, and winner of the 2016 Madeleine P. Plonsker Emerging Writers Residency Prize. Her play, The Shapes We Make With Our Bodies, was published in November 2015 by Plays Inverse. A full feature of this work will be produced at The Hive in Brooklyn, NY in February 2017. Her first novel is scheduled to be published in 2017 by &Now Books. 

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Colleen Hughes (Director) is a Brooklyn based freelance director. New York credits include: Jelly Bean Junkyard by Sean Pollock (Under St. Marks), workshop of The Plucked Dove by Sam Kahler (The Hive), Year One by Logan Porter (Manhattan Repertory Theatre), Chatroom by Enda Walsh (The Hive), Let Them Eat Cake by Ted Malawer (TinyRhino), Humorless by David Susman (Thespian Productions), Frankenstein by Mary Shelley, adapted by Rob Reese (staged reading, Treehouse Theater), and Germs by Catia Cunha (Grex Group). Other credits include: Origins devised by the Company (JCTC), Disco Pigs by Enda Walsh (A.R.T.’s Oberon), Poke by Bill Doncaster (SHOTZBoston), and Personal Penchants by Barbara Lhota (Open Theatre Project). Her assisting credits include 12th Night by William Shakespeare, directed by Shira Millikowsky (A.R.T. Institute), A Great Wilderness by Samuel D. Hunter, directed by Braden Abraham (NPC, Eugene O’Neill Theatre Center), and Death of a Salesman by Arthur Miller, directed by Phil Soltanoff (Skidmore College). Training: Skidmore College and the National Theater Institute. Colleen is also the Community Outreach RepreColleenHeadshotsentative at Signature Theatre. www.colleenehughes.com
 
Reviews of The Shapes We Make With Our Bodies:

Praise for The Shapes We Make With Our Bodies:
“Meg Whiteford, a bold new voice, moves us forward by returning us to a theatre that isn’t afraid of dramatic poetry, shapeshifting characters, plots motored by comic metamorphoses, and endings vibrating with tragic loss. She is a 21st century risk-taker, inspired by the daredevil predecessors that startled previous centuries into recognizing the stage as a fluid dream.” – Charles McNulty, chief theatre critic for the Los Angeles Times
 

“The Shapes We Make With Our Bodies is a guide for a brutally funny flesh-and-blood cartoon that is, in part, about recovery. Yoga, therapy, shrooms, witchcraft, Tarot, sacrifice: Meg Whiteford slants each into off-kilter rituals that, like her rich and wily stage directions, member and dis-member the play’s world, along with our heroine Honey’s sense of self. In this way, the play itself plays Maenad, even as there are Maenads in its pages—tearing through a lurid country of horror film references, broken memories, puns, remixed Herculean labor, and spas—lyric, wild, and murderous.” – Douglas Kearney, author of Patter

Abby Levine in the house!

Beginning right after Thanksgiving, Abby Levine will be returning to the Egg for an artistic residency.  Here is what she says about her project.  

I understand the body as something that cannot fully abstract, cannot turn into lines and movement, cannot lose its referents to the world. This is the condition—constraint and richness—of working formally with dance. Music, by contrast, is often spoken about as an unavoidable abstraction. A musician may try to represent something through sound, but there will be an inevitable loss of legibility. Composer and fiddler Cleek Shrey and I have been discussing the term “gesture,” the different ways it is thought about in contemporary experimental music and dance. This shared term serves as a way to speak across the different relationships to abstraction and representation in our disciplinary forms. Gesture carries connotations of expression and communication. We consider these more traditional valences, as well as other possibilities, including composer Denis Smalley’s more open idea of gesture as “the trajectory of an object through time.”

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Our proposal is to begin from music and dance’s different understandings and assumptions about gesture, and to trade techniques and conventions to create a shared language that unsettles both. Cleek is a striking physical presence when he is playing. The functional work of his fiddling is both sculpturally complex and evocative. In recent collaborations with composers, I have experimented with making choreographic choices starting from the sound they produce. I create physical forms in which weight and shape are determined first by sound and rhythm. We will experiment with these incursions into each other’s visual and sonic territory, looking to create a cross-pollinated (or maybe polluted) gestural language that neither denies expression nor settles in representation.

 

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Continuing my ongoing experimentation, we will work with a reduced sound and movement palette, interested in exposing the frictions and correspondences of each of our contributions and making visible the accidental expressiveness that emerges from forms over time.

Elizabeth Seldin at the Egg

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We took What Haunts You, a new play by Elizabeth Seldin to the Dragons Egg in October 2016.  The play explores the worlds of the 1920s and 1960s as experienced through ghosts in a theater called The Imperial Theater. 

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As a cast and creative team, getting to sleep, eat and play together was so helpful as this is what the play focuses on; artists that function day in and day out together.  The wide open space of the yoga studio provided an fertile ground for us to do group warm-ups, learn the Charleston and explore on all three levels how the ghsots move.

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At one point we turned off all the lights and had a single flashlight, with Robert Frost improvising old creepy music we got to really explore how creepy it was to be a spirit trapped in a theater. 

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Since coming back from the Egg I have been able to process all of that which we found and this is launching the whole show into an amazing direction wherein we wish to have a full production by the spring of 2017. 

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Clare in December!

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Clare Byrne will be at the Egg in December!!  and will have a showing on Dec. 21, at 4:30, of work in progress. 

 

Clare Byrne is a Vermont choreographer and musician who has developed and performed her work across New York City and New England for the twenty years. She has been blessed with residencies at the Dragon’s Egg since 2002, when she came to the Egg to develop “Wet Blue & Friends,” which premiered at Dixon Place in New York City. In a 2003 Mondo Cane commission from Dixon Place, she created “Rend and Sew” by drawing inspiration specifically from the Dragon’s Egg transportive architecture and spirit.


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photo by George Bouret

 

 

Since 2013 she has been creating yearly mid-winter “Holiday Happenings” at the Egg, inviting friends and artists to join in and collaborate.

 

For this year’s winter happening, Clare will be in residence with a group of Vermont dancer and musicians to develop a new dance work in collaboration with Vermont composer Randal Pierce. Artists include Avi Waring, Marc Wennberg, Colin Henkel, and Bridget Wheeler.

 

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photo by George Bouret

 

 

 

Dance Showing on October 25th at the Egg

Choreographer, Christine Poland will be holding a free informal works in progress showing Tuesday October 25th at 6pm at the Dragon’s Egg – 401Shewville Road, Ledyard, CT.  Performers include Chloe Carlson, Sarah Griffin, Alexandria Collins, Kelsey Alexander, Bethany Bonner, and Elizabeth Dannenberg.  There will be an artist discussion to follow the showing.  These works are being developed for a performance written by Tasha Levy In March of 2017.  The performance will be about half an hour in length.

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Harpers in Residence at the Egg

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The Harpers is a group of socially conscious play makers creating work at the intersection of fine and folk art.
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The Girl From Bare Cove is an original folk opera written for an ensemble of actor-musicians that follows a family in crisis as they face the revelation of one daughter’s decade-long history of sexual abuse and the present-day consequences of her traumatic past. With songs inspired by the folk sounds of New England, this modern-day fable invites us to explore the communities we share and the worlds we build for ourselves. 

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Dragon’s Egg at Triskelion

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Dragon’s Egg Presents featured performances by past Artists in Residence at the Egg, and this year’s program presented dance, theatre, music, film, monologue!  Here are photos from work by Ceci Fontanesi, Marly Schneider, Shelley Fort, Jason Rabin,  

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and a fllm shot from Kristin Hatleberg’s film.

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To apply for a residency, check the website for directions, and be in touch with Marya at mybeasts@aol.com.   Blessings on all!  xox