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Stuart, Meg
Meg Stuart (born in 1965 in New Orleans) finished her dance education with a Bachelor of Fine Arts degree in New York. From 1986 to 1992 she was part of the Randy Warshaw Dance Company; her first choreographic piece “Disfigure Study” was realized in 1991 for the Klapstuk Festival, Leuven, and was followed by “No Longer Readymade” (1993) and “No One is Watching” (1995). In 1994, she founded the company Damaged Goods in Brussels.
Ever present in the work of Meg Stuart is the search for new artistic constellations and contexts in the crossbreeding of dance, theatre, architecture, and visual arts; she brought this approach to realisation in her dance installation projects “Show is Many Things” (Museum for Contemporary Art Gent, 1994) and “Insert Skin” (in cooperation with Ann Hamilton, Gary Hill, Bruce Mau and Lawrence Malstaf, among others). From 1996 to 1999, she was involved in “Crash Landing”, an improvisation project that included dancers, musicians, video and sound artists as well as designers. In collaboration with director Stefan Pucher and video artist Jorge Leon, she realised “Highway 101”, a performance that evolved into an ongoing process of commemoration and reminiscence focussing on memory, the artist’s relationship with the audience, and the use of space.
Her numerous film and theatre projects include “Comeback” (1999), “Snapshots” (1999), and “Henry IV” (2002) by Stefan Pucher; she collaborated with Christoph Marthaler and Anna Viebrock in “Das goldene Zeitalter” (2003) at the Schauspielhaus Zürich and with Frank Castorf in Der “Marterpfahl” (2005) at the Volksbühne am Rosa Luxemburg Platz, Berlin.
From 2001 to 2004, Meg Stuart and Damaged Goods were artists-in-residence at the Schauspielhaus Zürich, where they premiered productions of “Alibi”, “Visitors Only”, “Forgeries”, and “Love and Other Matters”.
In January 2006, Meg Stuart premiered “Replacement” at the Volksbühne am Rosa Luxemburg Platz, Berlin; there she discovered the ‘monster’ as a cipher in which theatre can experience something about itself: the monstrosity of theatre and the theatricality of the monstrous, and the (human) attempts at representation and phantom pain incurred when the lively and its embodiment cease to exist, and are replaced by something else.
Meg Stuart gives numerous workshops, e.g., at the Forum Danca (Lisbon), European Dance Development Centre (Arnhem), Movement Research (New York), Pro-Series (Vienna), Tanzhaus Wasserwerk (Zurich), Parts (Brussels) and elsewhere.
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