![]() The Ancients, 2000 years ago, those plays were all danced and sung in Shakespeare's day- the actors danced in classical Japanese theater the acting students begin with years of dance training. Since then, we audience(s) have been increasingly subjected to mind-numbing, un-ironic, unambiguous “reality” on stage. ![]() "The separation of dance and theater- this is a lifelong irritant for me! In my personal and very subjective timeline, the distrust in Western theater of dance all began post-18th c. When asked about the division between theater and dance, Parson said: In the words of Shaw, "the difference between a Big Dance Theater event and work by someone like, say, Richard Foreman is that Big Dance will send you into a trance state-and then shake its finger at you and wink." And the narrative elements that have happened in my life, as I look back on them, become more fictionalized.") Though the lack of a linear story occasionally leaves critics bewildered, the intentionality, playfulness, technical precision and the ambitious scope of the worlds they create usually guarantees that the critic don't mind feeling lost. The work of Big Dance is almost always non-linear, and frequently disinclined to have a narrative ("I don't think life is very narrative," Parson says. This group ebbed and flowed with others joining in over the years. The company is – as it says on the bottle – a hybrid group, ignoring customary divides between dance and theatre." The Company began as a loose but dedicated and generative alliance, made up largely of women including Stacy Dawson, Molly Hickok, Tymberly Canale, Cynthia Hopkins, Rebecca Wisocky, and Kourtney Rutherford. Parson describes Big Dance as "a group of people who are interested in pushing dance into the theatrical realm and pushing theater into the dance realm." To her, Big Dance has a "total greediness for all the pleasures of theater and dance" Critic Helen Shaw wrote of Big Dance as a "fluid gang of performers and designers clustered around the married co-directors, choreographer-director Annie-B Parson and actor-director Paul Lazar. Her work with Big Dance has been commissioned by the Brooklyn Academy of Music, The National Theater of Paris, The Japan Society, and The Walker Art Center. She has since choreographed and co-created dozens of works for the company, ranging from pure dance pieces to adaptations of plays and literature, to original works combining wildly disparate materials. Parson founded Big Dance Theater in 1991 with Molly Hickok and Paul Lazar. She received her Master's degree Columbia University/Teacher's College in 1983. ![]() Parson received her BA in Dance from Connecticut College in New London, Connecticut in 1980. ![]() ![]() Vincent, Laurie Anderson, Jonathan Demme, Ivo van Hove, Sarah Ruhl, Lucas Hnath, Wendy Whelan, David Lang, Esperanza Spalding, Mark Dion, Salt ‘n Pepa, Nico Muhly, and the Martha Graham Dance Co. She is also well known for her collaborations with Mikhail Baryshnikov, David Byrne, David Bowie, St. Parson is the Artistic Director of Brooklyn's Big Dance Theater, which she founded with Molly Hickok and her husband, Paul Lazar. Parson is notable for her work in dance/theater, post-modern dance, and art pop music. OBIE, Bessie, Doris Duke Performing Artist Award, Olivier Award for Best ChoreographerĪnnie-B Parson is an American choreographer, dancer, and director based in Brooklyn, New York. Artistic Director of Big Dance Theater, Choreographer ![]()
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