“Rube G” a both an animated film work, and live piece for five dancers is tribute to Rube Goldberg, the object artist and inventor. With original music composed by Frank London, we examine contagious, spontaneous, physical connections. The choreographic dance language is athletic and layered, corporally creating a tangible terrain of momentum, chain reaction, snapping, popping, levity and gravitas, teetering and tumbling. Athletic and layered, we corporally creating a tangible terrain of momentum, chain reaction, snapping, popping, levity and gravitas, teetering and tumbling. Costumes are by Katrin Schnabl. Video Design will augment the live performance. “Rube G” brings to light how things (and people) build and destroy. As we leave traces of our civilization, the stuff we accumulate, we leave our marks. Dance, in its essential form, is ultimately is a zero waste event: we combust and pass through in time, leaving invisible traces. We have influence.
Moving with precision, minimal props, with a propelling video design, Rube G. points to the phenomenon of chain reaction, happenstance, and teamwork, in a world where chaos messes everything up. Frank London will create a vivid musical score for a chamber group of five musicians. The playful mélange of sounds, percussion, bass, trumpet, violin and keyboards create the soundscape. Any one of Rube’s machines has a self-contained narrative and logic. Rube G. explores a meta world of objects and human chain reaction, this happens, then that affects this. A typical cartoon has many moving parts, a broom hits a plank, a ball rolls down, letting off a cuckoo clock, etc. Oberfelder’s choreography mines the absurdity and whimsy of this zaniness through ordinary and athletic physicality.
Set: Lexi Ho Ti, Costumes: Katrin Schnabl, Video design: Fleet (Ellen Maynard)
Madame Ovary, the third in a trilogy following the heart (4Chambers) and The Brain Piece, zooms in on gender schema theories and asks “how are we defined by our bodies?” This excerpt is a very human and tactile moment.
Music: Missy Mazzoli
Dancers: Mary Madsen and Mei Yamanaka
Costumes and choreography: Jody Oberfelder
Video: Nel Shelby
Photo: Paula Court
for: (4-Piccolo Trumpets, 4-Bb Trumpets, Baritone Horn, Violin, Viola, Cello)
performed by: Flexible Orchestra – Daniel Goode, Artistic Director
Brandon Bergeron, Chris Bubolz, Gareth Flowers, James Lake, Alejandro Lopez-Samamé, Hugo Moreno, Thomas Verchot, Frank London – trumpets; Mike Seltzer – euphonium, Melissa Tong – violin, Stephanie Griffin – viola, Mary Wooten – cello. Tara Simonçiç – conductor
Rube Goldberg Variations will feature percussion.
The Brain Piece, presented June 28-July 1, 2017 at New York Live Arts, is part installation and part proscenium
performance, designed to allow audiences to have an intimate experience with their own
minds and bodies. Only 72 audience members at a time are invited, yielding a
personalized and engaging experience. Music is by Daniel Wohl. Performed by Mary Madsen, Pierre Guilbault, and Hannah Wendel, along with 10 “dancer docents” The Brain Piece evokes tangible and interactive experiences via film, dance and objects.
Start and End Dates
11/01/2020 — 06/01/2021
New York, New York