07/18/2024
Presenters at Historical Dance at Play: Express Thyself
Summer online workshop August 10-11, presented by The New York Baroque Dance Company.
Go to historical.dance for more information and schedule.
Caroline Copeland: (Associate Director) joined the New York Baroque Dance Company in 1996 and has since performed with the troupe throughout the United States and Europe, most notably at the Drottningholm Theater, the International Händelfestspiele Göttingen, Danspace at St. Mark’s Theater, the Guggenheim Museum, and at Potsdam Sanssouci. Caroline is also a featured artist with The Boston Early Music Festival where she is both a performer and choreographer. Her dancer/choreographer credits with BEMF include Steffani’s Niobe, Regina di Tebe, Handel’s Almira, and Campra’s Le Carnaval de Venise. As a solo performer, Caroline collaborates with many early music groups around the US and Europe. Appearances include performances with Cantata Profana, Juilliard415, Quicksilver, The Four Nations Ensemble, The New York Collegium, Brooklyn Baroque, The New Dutch Academy, Bourbon Baroque, and the New York Consort of Viols. And Caroline’s choreographies have been presented at the historic Federal Hall, The Metropolitan Museum of Art, The Public Theater, and the Philipszaal in the Hague.
Caroline also directs opera and writes, directs, and choreographs dance/plays. She teaches master classes in baroque dance and gesture at colleges and universities across the United States. Presentations include appearances at NYU Gallatin, Rutgers, Cornell, Yale, Ensemble ACJW, Juilliard, Parson’s School of Design, BEMF, University of Delaware, Carnegie Hall and Vassar College. Caroline earned a MFA in Dance from Sarah Lawrence College and is an Adjunct Professor at Hofstra University where she enjoys teaching classical ballet, contemporary dance, historical dance practice, and dance history.
Edmund Fairfax
Edmund Fairfax is an independent dance historian specializing in eighteenth-century ballet. His groundbreaking study The Styles of Eighteenth-Century Ballet (Scarecrow Press) appeared in 2003. For some time now, he has been working on a second major study to be called The Technique of Eighteenth-Century Ballet, which will present all of the surviving relevant primary material on eighteenth-century dance technique in translation and provide a detailed synthesis reconstructing the technique. The study will also outline some of the important technical changes in the history of ballet up to the twentieth century. As part of his research, he has been examining in detail the surviving rich source material for the pantomime ballets mounted at the Paris Opéra in the last quarter of the century, for chapters on pantomime and choreographic principles which are to appear in the aforementioned study. He has given presentations at dance conferences and has also produced choreography based on his research, most recently for the Potsdam Early Music Festival 2024.
Mark Franko
Mark Franko has danced professionally for the Paul Sanasardo Dance Company, Movement
Research (the Oskar Schlemmer Bauhaus Dances), and NovAntiqua, the company he founded in 1985. In a career bridging the theory and practices of historical and contemporary dance his
choreography has been produced at Lincoln Center Out-of-Doors Festival, the Berlin Werkstatt
Festival, The Getty Center, the Montpellier Opera, Toulon Art Museum, the Akademie der
Künste (Berlin), the Mozarteum (Salzburg), Grove Theater (London), Stuk Festival (Leuven) and
in many New York and Bay Area venues.
Franko has taught at Columbia University, Princeton University, University of California, Santa Cruz, Freie Universität Berlin, Université Paul Valéry (Faculté de Montpellier 3), Tisch School of the Arts, NYU, Bard College, Université Paris 8, and Université de Nice. Currently Laura H. Carnell Professor of Dance, Boyer College of Music and Dance (Temple University) Franko is recipient of the 2011 Outstanding Scholarly Research in Dance Award of the Congress in Research in Dance. His research has been supported by John Simon Guggenheim Memorial Foundation, Getty Center for the History of Art and the Humanities, UC President’s Faculty Research Fellowship in the Humanities and grants from the NEA and the NEH. He co-edited musicologist Annette Richards Acting on the Past (Middletown: Wesleyan University Press, 2000); solo edited The Oxford Handbook of Dance and Reenactment (New York: Oxford University Press, 2017). His books on early dance are published in revised editions: Dance as Text: Ideologies of the Baroque Body (New York: Oxford University Press, 2015); The Dancing Body in Renaissance Choreography (London: Anthem, 2020). Text as Dance: Walter Benjamin, Louis Marin and Choreographies of the Baroque is in press at Bloomsbury Academic.
Moira Goff
Moira Goff is a dance historian specialising in ballroom and theatre dance from the late 17th to the late 18th century. She has a particular interest in dancing on the London stage between 1660 and 1776, although her more general research occasionally extends as far as 1830. She has published many articles and papers and currently writes a blog Dance in History. Her book The Incomparable Hester Santlow: A Dancer-Actress on the Georgian Stage appeared in 2007. Moira continues to reconstruct the notated dances of the 18th century as an integral part of her research work.
Hubert Hazebroucq
Hubert Hazebroucq is a French dancer, choreographer and independent researcher who specialises in Renaissance and Baroque dances. Formerly a contemporary dancer in Lyon, he discovered historical dancing in 1998 and has been performing for several choreographers, like Christine Bayle (Cie L’Éclat des Muses), Marie-Geneviève Massé (Cie L’Éventail), Lieven Baert or Sigrid T’Hooft. He was also trained in Italian Renaissance dance by Barbara Sparti and Gloria Giordano.
As a choreographer, he aims to show and promote early repertoires with live music, and to bring together creation, emotion and research on Historically Informed Performance. He has his own dance company, Les Corps Éloquents, founded in 2008 and based in Paris, that collaborates with renowned musical ensembles, especially with Les Arts Florissants, led by William Christie, for Molière et ses musiques in 2022 (Versailles, Philharmonie de Paris,...). Hubert Hazebroucq is regularly invited as choreographer by renowned Early Music ensembles like Doulce Mémoire, led by Denis Raisin-Dadre. Their next project So tanzt die Renaissance will be presented at Potsdam in June 2024.
Hubert is regularly on tour in Europe with musicians such as the recorder player Julien Martin and the harpsichord player Jean-Luc Ho and also present at international festivals, like the Festival Oude Muziek Utrecht, which commissioned a spectacle about Watteau, Fête Galante for six dancers, in 2022.
Hubert Hazebroucq holds a Master Degree of Arts with a dissertation on ballroom dances in the Seventeenth Century. He is a board member of the French research society ACRAS 17-18. He was part of the research programme "Théâtre Molière Sorbonne", especially for the historical recreation of the intermèdes in Les Fâcheux and in Le Malade Imaginaire (2022), including experiments with the "bande de Violons", and has himself received several research grants by the Centre National de la Danse. He regularly presents lectures in international symposia and publishes articles on early dance techniques and poetics.
Holding the French State Diploma of dance teacher (DE), he is professor for Early Dance at the Conservatoire Régional de Paris and will be teacher of Renaissance Dance at the Schola cantorum Basiliensis from 2024-2025. Hed gives master-classes for dancers and musicians in French and international conservatories and universities (CNSMD of Paris and Lyon; koninklijke conservatorium Brussel; Temple University, (Philadelphia), Cornell University (Ithaca), Eastman School of Music (Rochester), etc. focusing on the relation between choreographic sources, musical interpretation and expressiveness.
Mace Perlman
Mace Perlman is a classically-trained mime and actor, who studied and performed under Marcel Marceau in Paris, and later under Giorgio Strehler at his Piccolo Teatro in Milan. The recipient of Stanford University’s Robert M. Golden Award for combining excellence in performance with outstanding scholarship, Mace specializes in characters who blur the tragic with the comic and joins the practice of commedia dell’arte with the playing of the great texts of the English, French, and Italian repertoire.
Mace has translated, directed, and acted in the works of Shakespeare, Molière, Marivaux, Goldoni, and Gozzi, as well as Chekhov, Pushkin, and Dostoevsky, among others; and he has taught masterclasses in acting using the commedia masks of Renzo Antonello in more than twenty-five American conservatories and universities, as well as in Germany and Italy.
Along with pursuing his long-held project to create an Academy of Renaissance Theatre — a professional company of players together with a school of theatre, language, and Renaissance culture -- since July of 2020, Mace has been playing Ringmaster Chissà (“Who-knows”) with the Zoppé Circus. As part of this artisanal, poetic, one-ring Italian circus, he has been privileged to collaborate with seventh- and eighth-generation circus artists, including the world-renowned Giovanni Zoppé, known in art simply as “Nino.” (See www.zoppe.net for current tour info.)
Most pertinent among his writings to today's symposium is the epilogue chapter "Reading Shakespeare, Reading the Masks of the Italian Commedia: Fixed Forms and the Breath of Life" in Transnational Exchange in Early Modern Theatre, Robert Henke and Eric Nicholson, ed. (Ashgate, 2008).
An enormous thank-you to Catherine for bringing us all together for this international gathering of minds and talents!
Sreelakshmi Somanath
Sreelakshmi Somanath is a senior Silambam student and company dancer. She began her Bharatanatyam journey at the age of 7 when she trained under Dr. Sreedhara Akkihebbalu for a few months in Corpus Christi. After moving to Houston, Sreelakshmi found her artistic home at Silambam Houston in August 2018, under Guru Dr. Lavanya Rajagopalan. She had her Ranga Pravesham (solo dance debut) in June 2022 and has danced in several original Silambam Houston productions. In addition to performing, Sreelakshmi also helps teach beginners through advanced classes at Silambam.
Catherine Turocy
Catherine Turocy, recognized as one of today’s leading choreographer/reconstructors and stage directors in 17th and 18th century period performance, with over 80 Baroque operas to her credit, has been decorated by the French Republic as a Chevalier in the Order of Arts and Letters. Her first performance in Baroque dance was in 1972 with conductor Alan Curtis and choreographer Shirley Wynne and the Baroque Dance Ensemble of The Ohio State University at UC Berkeley in Rameau’s La Naissance d’Osiris.
After moving to NYC in 1976 she cofounded The New York Baroque Dance Company with Ann Jacoby.
In 2018-19 she was a recipient of the Center for Ballet and the Arts Residency Fellowship in NYC affiliated with NYU for her work on Nijinsky’s Bach ballet (1913). In 2018 Turocy received the prestigious IZZY Award in San Francisco for her stage direction and choreography of Le Temple de la Gloire by Rameau which also received two first prizes in “Best of the Bay” under both stage direction and choreography. Other awards include the BESSIE Award in New York City for sustained achievement in choreography as well as the Natalie Skelton Award for Artistic Excellence. In 1980 she received the Dance Film Association Award for “The Art of Dancing.” NEA International Exchange Fellowships supported extended visits where she lived in London and Paris, conducting research and interacting with other artists. In the 1980’s she worked under famed stage directors Pier Luigi Pizzi and Jean Louis Martinoty.
