Lecturer in Theatre & Performance
School of Humanities and Performing Arts (Faculty of Arts & Humanities)
Adam trained at Middlesex University. He was joint founder and Artistic Director of CandoCo Dance Company (1990-98) winning a London TimeOut Performance Award for Flying in the Face of... The company also collected the Sainsbury Award for Education and the Prudential Award during this period.
He was Artistic director of Tshwaragano Dance Company in South Africa, and has choreographed for Remix Dance Project (Cape Town). He developed the integrated strand with Adugna Dance Theatre Company in Ethiopia.
As an improviser he has performed with, amongst others, Kirstie Simson, Kenzo Kusuda, Jordi Cortes, Rick Nodine, Eric Languet, Yann l’Heureux, Kim Itoh and Chieko Matsumura. He is a founder member of 5 Men Dancing.
Choreography includes A Holding Space (choregraphed with Russell Maliphant), Angels of Incidence for Scottish Dance Theatre, Steak for Danse-habile (Switzerland), Second Time Broken for Remix Dance Project (South Africa) and Slight for The FATHoM Project. Currently making work with Croi Glan dance company in Ireland.
Improvisation: the preparation of destabilization strategies for unstructured improvised performance
Where formal theatre seeks to secure the framing (script, sound, light, duration) of work, unstructured improvisations allow these elements to be explored in performance through a dialogue or interaction between technicians/sound light artists, musicians and performers. What might be regarded in other settings as flaws in preparation are here regarded as valued lacuna through which entirely unexpected outcomes emerge.
The work has caused me to reflect and write about patterns that run across improvisations and indeed run across the time and space in-between, occupied by our lives. This has led to new understandings of the performative and the pedagogic elements of my practice and prompted a position that resists the conventional delineation of one from the other and that proposes a “blurring of art and life”(MacDonald 2012).
My practice leans on ‘deep listening’ refined through integrated dance in which bodies unfamiliar and ‘other’ must be heard and responded to, and in which the making of new connections is part of the daily practice. The work is interrogated in and through performance. Reflection is through post performance discussions Wordpress sites, or in interviews (Trondheim 2012, Cecilia Olsson) and analysis of performance footage. This reflection is an attempt to understand the unfolding events of the performance, what might be learned from our responses, and how this understanding might be transposed to the pedagogy of improvisation, it is also a springboard for new ideas and new collaborations, both improvisational and structured.
Key publications are highlightedJournals