Jeanine Durning is an Alpert Award winning choreographer and performer from New York whose work has been described by The New Yorker as having both “the potential for philosophical revelation and theatrical disaster.” She’s interested in choreography as a ways and means to mobilize questions about how our basic need for connection and communication aligns, and often misaligns, with how our thinking and feeling come to form and action. Jeanine has an ongoing practice, nonstopping, which has yielded several performance works, including her solo inging (based on nonstop speaking). She has performed inging more than 50 times across the US, in Europe and Canada. In support of her new project Dark Matters, Durning has received residencies at Seoul Dance Center, the Rauschenberg Foundation, MANCC, and at DNK in Sofia, Bulgaria. Jeanine has had the privilege to collaborate with many choreographers, including Deborah Hay since 2005, working as performer, consultant, choreographic assistant and coach. Durning has shared some of her practices all over the world and was recently Guest Lecturer at Smith College in Western, Massachusetts. Upcoming projects include a new work commissioned by Candoco/London, performing Big Dance Theater’s adaptation of Anne Carson’s Antigonik (playing the titular role), and a European tour of Deborah Hay’s new work Animals on the Beach.
What we do when we do the thing we do before we know what we are doing:
Approaches to Practice and Performance
The idea is not the thing. Each of us is an ever-shifting complex ecology of radically divergent memories, desires, impulses and perceptions. This is a lab for cultivating multiple considerations on multiple levels, put into conscious action and practice. Accepting not-knowing as a generative state, we’ll sharpen our responsiveness to impossible proposals, heighten attention to emergent materials, then fluidly develop strategies and systems for immersion in and reflection of inherent structures of our thinking/being/doing. We’ll generate, reconsider, translate and reinterpret: action, affect, content and context through our practice of performance. At the core of this workshop is the willingness to think/move/imagine/speak in unanticipated directions.