About
24 Jul 2021
The Matter with Meg Stuart and Moriah Evans at Impulstanz

24.07+25.07.2021: Two-day workshop by Meg Stuart and Moriah Evans in the framework of the Impulstanz Festival.

For two days we commit ourselves to listening and the need to speak. How to articulate expression through and with the body? Stand up tips over to lie down, into sit it out and then walk it off, towards run away or hold it down, tie it together, keep it quiet. We rant and we rave. A subterranean mode of speech ready to emerge. To speak it out, to hear it out, to move the words out. Movement as a text transcribed by our necessary, unrelenting, and unfiltered questions: What decisions were forgotten after we said yes? What is after consent and the agreement? Is commitment a gift towards another, maybe to oneself? Rant and rave—the act to act out. Moving the words while being open to the live moments of shift, with no assumptions, no pre-conceptions. What can we glean from positions of desperation, healing, and resistance? Care is a commitment. Commit to listen—again and again—to feel what we are saying, to move what is held, to catalyse, to shift, to sit it out, to stand up, to walk out if necessary, to step aside, to feel and to come back again and again to the heart of the matter.

More info here.

05 Jul 2021
Four-day workshop with Meg Stuart at the Lake Studio's Berlin

This summer Lake Studios will host the 5th edition of an intensive festival dedicated to submerging into specific performance works of our invited dance artists. The workshops are conceived as embodied »re-creative« labs into the making of these pieces. The artists will share their creative processes, movement techniques, choreographic / improvisational methods, and conceptual journeys through the crafting of their works.

Meg Stuart will be teaching a four-day workshop from July 5th to July 8th. More details and link to sign up will follow soon.

31 May 2021
Four morning classes at Tanzhaus Zürich

FRom May 31st to July 3rd, Meg Stuart teaches a series of four morning classes at Tanzhaus Zürich. More info on how to subscribe via their website.

During the classes, we will engage with a series of guided visualizations and extended sensorial meditations, paying special attention to subtlety and nuance. Studying movement patterns, temporal and spatial choices, we question what moves us on a physical and conceptual level. What do we gravitate towards? What do we need to let go of? What do we want to invite? Through these questions, we will explore strategies of transformation, change, and yielding, in order to find and follow new and unexpected pathways. We will investigate the borders between knowing and not knowing, abstraction and intention, images and action. Meeting each other through states of touch, shared fictions and energetic exchanges, the aim is to playfully embrace risk, and to discover the bliss of vulnerability. Live music by Mieko Suzuki.

24 May 2021
ONE SHOT with Meg Stuart and Mark Tompkins at CN D Pantin

Workshop organised by CN D Pantin in Paris from 24 until 28 of May.

Since 2016, Meg Stuart and Mark Tompkins have shared their passion for improvisation in radically different landscapes and contexts, giving workshops and performances, gathering texts and images to make ONE SHOT, a book about the labyrinth of real-time composition.
This intensive workshop at CN D focuses on three intertwined issues: listening, practicing and performing. Guided visualizations and extended sensorial meditations allow us to observe and study movement desires and patterns, temporal and spatial choices, and that which makes us move physically and conceptually. Starting from questions such as “What do we gravitate towards?" "What do we need to let go of?" "What do we want to invite?" Meg Stuart and Mark Tompkins explore strategies of transformation, change, and yielding, offering an encounter through touch, energetic exchanges and shared fictions. While building trust, they will embrace the interplay between risk and vulnerability, and investigate the boundaries between knowing and not knowing, abstraction and tension, image and action.

Apply before May 10th, more info here.

01 Mar 2021
ONE SHOT with Meg Stuart and Mark Tompkins at Tic Tac Art Centre

A 1-week workshop from May 1st to May 5th called One Shot, dedicated to Mark and Meg's instant compositions experiences. This event is part of the collecting process by Meg and Mark within the co-writing of "One Shot", their upcoming book on improvisation.

Since 2016, Meg Stuart and Mark Tompkins have shared their passion for improvisation in radically different landscapes and contexts, giving workshops and performances, gathering texts and images to make ONE SHOT, a book about the labyrinth of real-time composition.
This intensive workshop at CN D focuses on three intertwined issues: listening, practicing and performing. Guided visualizations and extended sensorial meditations allow us to observe and study movement desires and patterns, temporal and spatial choices, and that which makes us move physically and conceptually. Starting from questions such as “What do we gravitate towards?" "What do we need to let go of?" "What do we want to invite?" Meg Stuart and Mark Tompkins explore strategies of transformation, change, and yielding, offering an encounter through touch, energetic exchanges and shared fictions. While building trust, they will embrace the interplay between risk and vulnerability, and investigate the boundaries between knowing and not knowing, abstraction and tension, image and action.

Jan 2019
Meg Stuart about teaching

When did you start teaching?
My first teaching was as a dancer for SNDO students, a technique class. Then my first workshop was at movement research, where I taught choreographic anarchy. I had all the students write their personal manifestos in choreography to question their own assumptions and preconceived ideas about making dance. I continued to teach improvisation or choreography in intensive workshop settings at Impulstanz Vienna, Forum Danca Lisbon, PARTS Brussels etc.

Which aspects of dance do you consider important to be taught?
All aspects from technique to theory to production. I think I am particularly good and interested in teaching improvisation, creating score tasks and situations for the dancer to discover their own movement language, interests, capabilities and choices. Improvisation is used as a strategy to explore body memory and physical and emotional states. There are workshops, for instance, that concentrate on how images unconsciously affect the way we move. The images used come from existing sources mixed with images we create for ourselves and images we have for our own body. Integrating these images in the work, the dancer can explore how they expand his or her imagination and physical range. With these entrances for improvisation, strategies could be discussed for their development into choreographic ideas.

How could an artist pass on his or her knowledge?
Teaching repertory is one option but I prefer to teach the particular questions behind each choreographic work, what I am interested in at the moment, what I am investigating currently, to share these questions and allow the students to discover the work for themselves without copying the choreographic material from the repertory.

What methods are you using?
I just realized when I did the book “Are we here yet?” with Jeroen Peeters that I actually had developed a whole series of exercises that I haven’t even realized they are exercises, a method that I developed during workshops and rehearsals. They are most image-based and they are for expanding people’s imaginary sphere and ways of thinking about their own body or the space. I think it is related to this fictional world primarily. Some are more technical like there is an exercise called “Ghosting yourself” where you start movements that are very intense and physical, then you keep the action but you just have the trace of emotions and situations. It is an attempt to become empty, absent, detached, a body becoming mere surface. So I give imagery scores to explore and I dance with the students knowing that physical transmission is an important one.

What do you experience while teaching new generations of dancers?
They are comfortable to improvise and open for movement processes, practices and scores and looking for their own movement language. They principally don’t need a single ideology, don’t need steps, they are thinking and curious. They consider their informed dancing bodies are meeting the work and see the workshops as a sharing of knowledge.

Dec 2015
WINLAB - Independant Dance

My work navigates the tension between dance and theatre, thought and action, remembering and forgetting. Scripts are written on our bodies: they contain unfinished histories of ourselves and others. - Meg Stuart

In this workshop, improvisation will be used as a strategy to explore body memory and physical and emotional states. We will investigate the borders between knowing and not knowing, abstraction and intention, image and action. Extending our understanding of movement vocabulary and possibilities, we will travel through energetic worlds, memory spaces and emotional landscapes. We will explore charged single actions to create collective kinetic sculptures. Moving fictions combined with physical work will be shaped into scenarios that transform and shift as we interact with others. In the various improvised scores, we will search for moments of intimacy, transgression and risk. Meg will be joined each afternoon by sound artist and composer Kaffe Matthews.

13 Feb 2015
The Great Memory Show - ArtEZ Studium General

Arnhem (NL)

Moving the archive

“A memory is a lonely, complicated and fleeting place. To revisit it, is to change it, even if preservation is every memory’s purpose.” - Tine Van Aerschot in Are we here yet?

Extracting from the research from her solo Hunter (2014), Meg Stuart’s workshop invites us to investigate our own personal archive of movement in the broadest sense. This can include personal memories from daily life, dances you might have learned, movements and gestures you hardly notice, or fictional selves and experiences as well as cultural and external influences. Extending our understanding of remembrance and its possibilities, we will travel through our memory spaces and emotional landscapes and move between the borders of knowing and not knowing, of remembering and forgetting. Where is the physical memory located in our body? How do we move from a memory and still be present in the here and now? How to articulate trauma and dead zones? As we improvise together, our personal archive evolves and is reshaped into a transpersonal and collective experience, articulating unfinished histories of ourselves and others.

The workshop took place in ROSET, Arnhem, as part of the Festival 'The Great Memory Show' by ArtEZ Studium Generale.

Nov 2013
Improvisation Intensive

Bat Yam (IL)

Arkadi Zaides/Moves Without Borders in cooperation with the Goethe-Institute Israel and with the support of the German Foreign Office in the framework of Berlin Dayz.

Jan 2013
Tanzwerkstatt Europa

Munich (DE)

BORDERBODIES

Together with the Department of Arts and Culture of the City of Munich, every year since 1991 JOINT ADVENTURES has organized TANZWERKSTATT EUROPA – workshops in the fields of contemporary dance. This time Meg Stuart holds the workshop "Borderbodies".

"My work navigates the tension between dance and theatre, thought and action, remembering and forgetting. Scripts are written on our bodies: they contain unfinished histories of ourselves and others." (Meg Stuart)

In this workshop improvisation will be used as a strategy to explore body memory and physical and emotional states. We will investigate the borders between knowing and not knowing, abstraction and intention, image and action. Stretching our understanding of how we can play with others and ourselves on stage, we will move through energetic worlds, memory spaces and emotional landscapes. Moving fictions will be shaped into physical scenarios that transform and shift as we interact with others. Travelling through improvised scores, we will search for moments of intimacy, friction and risk.

Jul 2012
Ponderosa's Witchcamp

Stolzenhagen (DE)

Together with Stephanie Maher, Lexa Rosean and their guests, Meg Stuart is teaching and performing the first week of Ponderosa's Witchcamp. The Witchcamp is a 2 weeks research meeting with intensive workshops, rituals and performances for improvisers, performers and artists interested in questions about alchemy, ritual space, clear energetic transgression, the magic of the performance moment and Pagan basics. For more information and subscription, please check Ponderosa's webite.

Jul 2012
Ponderosa's Summer school

Stolzenhagen (DE)

From June 11 to 15 Meg Stuart teaches a workshop at PONDEROSA's Summerschool 2012 in the P.O.R.C.H. / Alternative Conservatory (A.C.) programme. The Training module is collaboratively created and curated by Stephanie Maher (Ponderosa) & Kathleen Hermesdorf (La Alternativa). Together they combine and channel their forces into an immersive and intensive month. The focus is on the body and contemporary movement forms, as well as the individual co-existing with others and in nature. Co-teachers are Stephanie Maher, Kathleen Hermesdorf, Peter Pleyer, Maria F. Scaroni, Hanna Hegenscheidt. For more information and subscription, please check Ponderosa's webite.

May 2012
PEPCC Forum Dança

Lissabon (PT)

Along with Felipa Martorell, Nelson Guerreiro, Teresa Silva and others Meg Stuart is invited by Forum Dança (Lisbon) to teach in the frame of the PEPCC programme which is an intensive and advance course in international contemporary dance. The programme focusses on contents such as contemporary dance technique, yoga, chi kung, improvisation, composition and creation among other topics.

Jan 2011
eXplore Dance Festival

Bucharest (RO)

workshop at eXplore dance festival

National Museum of Contemporary Art (MNAC), Bucharest, Rumanien

“My work navigates the tension between dance and theatre, thought and action, remembering and forgetting. Scripts are written on our bodies: they contain unfinished histories of ourselves and others.” (Meg Stuart)