Dancers: HyeYoung Jo Borden, Dante J. Norris, Alisya Razman Adam, Kelsey Rondeau, Evita Zacharioglou
"simulacrum" Official Trailer
Maria has logged off
NimbusPRESENTS: OFFLINE Imagine, Engage, Connect (2018), a curated performance by Nimbus Dance Works.
Choreographer: Evita Zacharioglou
Performaners (dancers): HyeYoung Jo Borden, Ryan Pliss, Alisya Razman Adam, Kelsey Rondeau, Evita Zacharioglou
Collaborators (dancers): Dante J.Norris & Jihyun Kim
Maria has logged off
‘Maria has logged off’ is a commentary reflecting on our current era of social media. The theme of the piece, identity vs. conformity, magnifies an unnatural aspect of social networking through the use of electronic devices. There is something impersonal about the way we communicate today. The mere fact that we can appear or go offline whenever we like makes us impassive. What if we (humans) could just ‘log off’?
What are these online networks or 'Imagined Communities' all about?
* "Imagined communities" is a concept coined by Benedict Anderson. It is the belief that a nation is a community socially constructed, imagined by the people who perceive themselves as part of that group.
Mosaic Movement Museum Experience, Dance and Interactive Performance (2017) was a show put together by a group of emerging choreographers.
Performers: HyeYoung Jo Borden, Dante J. Norris, Evita Zacharioglou
Photography by David Gosnier
Title: Hallucinatory Paper Trails: Moving Wallpaper - It's Alive!
Piece Description: This piece is a cerebral mirage. Inspired by the novella The Yellow Wallpaper (1892) by Charlotte Perkins Gilman, this piece is an adaptation that bridges the world of reality into the imaginary. Stemming from a focus on female health and suppression in the 19th century, the choreography explores the psychological breakdown and perplexity of the human mind: the epitome of madness. Through dance, words, music and projections the internal insanity is brought to light. In this piece the audience can sympathize with the deranged by witnessing their hallucinations.
Photography by David Gosnier
The Yellow Wallpaper Summary In a 19th century patriarchal society a woman writes in her secret journal. Following the birth of her child the narrator tells her story and reveals her postpartum depression. As she is kept indoors, in a bedroom with ugly, old, unpleasant smelling, yellow wallpaper, by her husband, a physician, who believes she needs plenty of rest to heal, this woman slowly loses her mind: she becomes obsessed with figuring out the patterns in the wallpaper and slowly comes to believe it is moving. She starts to see a woman trapped inside, trying to escape, and eventually she tears it down to free her[self].
Underneath the Floorboards
Inspired by Edgar Allan Poe's 'A Tell-Tale Heart' (1843)
Underneath the Floorboards (2017) was choreographed for the Second Avenue Dance Company’s third show of the 2016/2017 season. Inspired by Edgar Allan Poe’s eerie short story, The Tell Tale Heart, the piece is dark and writhing with psychological perplexity and guilt. The cinematic approach to the piece and Zacharioglou’s exploration of the enigmatic psychology of individuals and their relationships to one another was her first works with a trio. The movement of the piece, reflecting the puzzle of the unexplained plot, resembles a serpent-like quality created by the three bodies in space. The movement creates ripples from one body to the next via their unison motion and weaving pattern. The music by Murcof although electronic in genre, fits with the scenario due to its stylistic qualities: glitch, modern classical, techno and minimal. The repetition and glitch beat echoes the anomaly of the situation and gives the movement the impetus for the wave sensations in the choreography. Intricacy and obscurity are at the core of the piece.
Photography by Haleigh Dalke
Photography by Haleigh Dalke
Performer HyeYoung Jo Borden / Photography by Claire You
Manifestations of Fear
Choreographed for the JCC Manhattan's The World is a very Narrow Bridge: New Music and Choreography
Title: Manifestations of Fear Choreographer: Evita Zacharioglou Composer: Nailah Nombeko
Dancers: Eury German, Stephanie Kies, Angie Lu, Andrea Pugliese Live musicians: Patrick Gallagher and Emily Vold
A contemporary dance piece choreographed for the JCC Manhattan's production of: The World Is a Very Narrow Bridge: New Music and Choreography. It explores the theme of fear and the human condition through the ways we we express fear individually.
The work portrays four manifestations of fear:
I. Sorrow II. Anger III. Denial IV. Paralyzed
Whispers: prayers in Greek, Mandarin and Spanish Psalms: spoken by dancers & composer
--- Sorrow --- Denial --- Anger --- Paralyzed ---
Inspired by discussions on Jewish texts and the universal approach to fear. What holds us back? What propels us to action? Are we more afraid of forces out in the world or those within ourselves?
Η καρδιά μου φλόγες βγάζει
Title:Η καρδιά μου φλόγες βγάζει (2016) (Translation: My heart ablaze) Performer/Choreographer: Evita Z. Lighting: Sarah Abigail Hoke-Brady Music: Άνοιξε άνοιξε - Φλέρυ Νταντωνάκη
A contemporary piece with a classical and Greek aesthetic.
It embodies pain of a woman in a relationship with a tyrannical man. Her partner is not there but his presence haunts her.
(beat): A theatrical pause between line and line in the script. Two different bodies on stage, a new type of physical language. Three different genres: Contemporary Dance, Korean traditional music, and Puppetry. Under three frames (distance, relationship, and estrangement), I would like to give the audience an opportunity to experience physical and emotional distance through disparate methods of movement.
(beat) premiered (2017) at Dixon Place Performing Arts Theater (New York, NY)
Director: Jeongyun Lee &Kristen Holfeuer Dancer & Choreographer: Evita Zacharioglou Puppeteer: Jeongyun Lee Stage Manager: Tianding He Music by Korean Traditional Music team “THE BARAJI”
Jeongyun Lee is a performance director and puppeteer and recently graduated MA Performance Studies at Tisch School of Arts, NYU. She got her BFA degree in Stage Performing Arts from Université Paris VIII in France. Passionate about the staged performing arts, physical theatre, and puppetry that fulfill particular functions as re-creator, mediator, and presenter by using unique and different theatrical languages. She served as director and assistant stage manager for several theatre and musical productions in NYC and Seoul, South Korea. She is excited and grateful for the opportunity to be presenting her performance, (beat), in Puppet BloK 2017.
Kristen Holfeuer was born and raised in Saskatchewan and has worked across Canada as a director, actor, choreographer, and producer. In New York she co-created Evidence Performance Series with Goldie Luxe and recently directed Amy Surratt’s First and Last (Show) which premiered at La MaMa ETC. Kristen received training from: One Yellow Rabbit Intensive, Luminato Festival Copycat Academy, Old Trout Puppet Workshop and an M.A. in Performance Studies from NYU Tisch. Kristen is the founder of Kamikaze Archive Theatre which develops works in a performance style termed “Glyphwork“.
Tianding He is an actor, director, performing artist and photographer in New York. She graduated from Performance Studies MA program of New York University. Her theatre credits include: The Maids (Claire), Imperial Envoy (the wife of a corporal). Her other original experimental performances include: A Dramatic Announcement of The Neglected and Getting Lost with Yoko Ono in NYC.
The Puppeteers: Jeongyun Lee & Tianding He
Director & Choreographer: Evita Zacharioglou
Co-Producer: Michael Mitas
Director of Photography: Justin Scholar
Camera 2: Louis Yin
Machinist: Michael Mitas
Dancers: HyeYoung Jo Borden, Rajon Miller & Evita Zacharioglou
Editor: Evita Zacharioglou
Aluminum Bodies (Dance Film)
Aluminum: The chemical element of atomic number 13, a light silvery-grey metal
This dance film explores the concept of dancers as precision machines.
This film explores the concept of dancers as precision machines. Precision Machining: a process removing material from a piece while holding close tolerance finishes. In engineering ‘tolerance’ is the permissible limit allowed in a physical dimension. My fascination is with the exactness required: calculations to perfection. There's a focus on the physicality of the body. I find the physical aesthetic very beautiful and compelling both in stillness and in motion.
Machinists, specialized trained professionals, work with programs and measurements that are calculated to perfection otherwise the entire structure falls apart. I feel that when we train as dancers we are also somewhat mechanical. We are told what to do and how to move; everything is choreographed. There is very little “tolerance” for moving freely, or dancing outside the constructs of that world.
Aluminum Bodies explores contrasting themes: light vs. darkness, freedom vs. confinement and the dancer as a machine vs. a human being.