Other Water

The lushness of Oregon waterfalls, the vast blue of Crater Lake, the clarity of the Caribbean Ocean and the dark mystery of the Baltic Sea. "Other Water" is a dance ofsubmerged memory connected to place in the fluid structures of the body. Each section of the hour-long work stems from a fleeting but indelible duet once shared with an immense body of water. These experiences are distilled into visual scores from which the eight performers chart a powerful, raw and tender course.

upcoming performance dates:

"Other Water" will be performed at The Stable in Williamsburg, Brooklyn The first two
weekends in June.

Thursday June 1, 8pm, Benefit Preview Performance followed by reception, $25 suggested donation

Thursday June 8, 8pm performance $15/12
Friday June 9, 10pm performance $15/12
Saturday June 10, 8pm performance $15/12
Sunday June 11, Improvisation Workshop 4:30-6:30pm, $25/15

Registration for CFVT summer classes and workshops is now underway! Offering Hip-hop, Modern, Improvisation and Drawing for Movement classes for adults and children. Please call for a schedule. 845 247 4654. All classes take place at Circle House Studios in Saugerties, NY.

Clyde Forth Visual Theatre

Lisa Abbatomarco (Chicago), Melinda Buckwalter (Western Mass), Alex Cohen (NYC), Heather Hutton (Virginia), Helene Lesterlin (Troy, NY), Cynthis McLaughlin (West Virginia), Anne Mulvaney (Brooklyn & Woodstock, NY), Michelle Nagal (NYC), Alison Robinson (NYC), Jill Anne Schwartz (Woodstock, NY), Estelle Woodward (NYC) and Clyde Forth (NYC & Saugerties, NY)

"Mouthful"

2003, score by clyde forth Performance and direction by clyde forth, Alison Robinson, Bob Lukomski Synopsis: “Mouthful” is a multi-layered,improvisational performance comprised of a movement score, live sound and text set within avisual installation evocative of both landscape and domestic interior. The evolution of the piece stems from the interweaving of two characters (St. Brigid of Kildare, Ireland; and a field hand named Sallibelle from rural North Carolina) and excerpts from a French natural history text titled The History of a Mouthful of Bread and It’s Effects on the Organization of Men and Animals. The multiple and unlikely connections between the two women and their mythical counterparts surface in innumerable combinations as the piece is improvised, composed on the spot during performance. The result is a provocative, energetic, emotionally charged ‘anti-narrative’ on the themes of female transformation and the tension between history and memory.

“The Language of Trees”

2002, written and performed by clyde forth; sound by Bob Lukomski Produced with support from Hudson Valley Community College, Troy, NY Synopsis: This site-specific movement installation inserts itself into the natural environment, allowing viewers to define their relationshi p to the material outside of familiar performance conventions. A sound score comprised of layered voices emanates from small amplifiers in trees drawing attention to a translucent structure in one of them. Inside the structure, forth’s solo movement performance conjures a web of connections between insect habitats, sylvan mythology, woodworking dictums and the loss of innocence. Using restrained, pulsating movement vocabulary and provocative text forth and Lukomski pull viewers into this exploration of privacy, power and confession.

"Score for Thinking About
Error and Progress I”

2002, written and performed by clyde forth; music by John Lindbergh Ensemble Presented through “sundaynewgenre” curated by Ei Arak awa at The Web, NYC 2002 Synopsis: “Score for Thinking About Error and Progress I” is a solo movement installation improvised on a sculptural score. forth physically “reads” forms made of found/donated clothing through extended, restrained movement interrupted by sudden fits of frenzy and shifts into the pedestrian. The forms refer simultaneously to landscape, refuse, and laundry piles. The act of dressing and undressing in this landscape becomes an open-ended metaphor for choice, regret, redemption and transformation.

“Score for thinking about
error and Progress II”

2003, written by clyde forth for four performers. Synopsis: “Score for Thinking About Error and Progress II” is performed from a diagrammatic score comprised of several pages of faxed material that, because of an error in transmission, form a series of scolls with variegated lines. The score provides a durational structure for improvisation with text and sculptural installation. This piece is in development.

“Tiny Dances”

2003, scores by clyde forth Synopsis: Delicate figurative drawings, which each include a single word,function as scores for one-minute improvisations and as artworks in their own right. The work explores the extreme compression of visual/movement temporal presentation formats. This piece was presented at Artist's Space for the show "Beyond the Moment" in May 2003.

“For Strays”

(working title), score written and directed by clyde forth; performed by company members and volunteers, video by Two Spot Productions To be presented in May 2004 at Ewe-topia Farm, Roy, WA Synopsis: Her largest movement installation to date, clyde forth’s “For Strays” explores the notion of the stray, the one that won’t behave. Through watching how animals and people move in groups (fish, birds, sheep, children, businessmen, etc.) a performance in collaboration with herding dog trainers emerged. A score will be developed in collaboration with herd dog trainers Linda Leeman and Joe Kapelos in July 2003. The score will consist of commands given to herd dogs that result in specific patterns of animal movement. (sheep movement in particular). In an adjacent field a group of 50-80 human dancers will perform a related score. This performance will be viewable live from a distance, and will also be videotaped, edited and shown as a projection. This piece is in development.

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