contemporary performance

Stephan Quinci



In this episode of Pod de Deux podcast, Clara and Jessica interviewed Stephan Quinci while traveling in Berlin.  Originally hailing from Italy and Ohio, Stephan now calls Berlin his home where he collaborates with artists and investigates his own performance work. Stephan shared how his current training in release technique influences his performance work and free expression on the Berlin Club dance floor.  We talked about his dialectic process for creating conceptual performance, and the European performance landscape.

Check out his recent dance fashion feature in Sleek Magazine:

Following graduation from Kenyon College in Ohio, Stephan was invited to create an installed performance dialogue at the former MINT Gallery, a collective art and project space in Columbus, Ohio. Shortly after that, he relocated to Berlin, Germany.

In Europe, Stephan has been involved in numerous solo, group, video, and performance projects and collectives. He has performed works by Isabel Gotzkowsky, Sarah Grether, new media artist Leonard Traynor, and, most recently, he took part in MoDem Pro with the Compagnia Zappalà in Catania, Italy.

Stephan’s most recent personal project, Extract, has evolved from video to performance installation. It includes two parts, one of which premiered in Italy and the other of which is still a work in progress.

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WELCOME TO THIS SITUATION: Interviews from ImPulsTanz – Vienna International Dance Festival


(Ori Flomin, right, watches his dancers perform in his workshop.)

We spent a fantastic day at the ImPulsTanz Dance Festival in Vienna, Austria on July 22nd, during the first week of the festival, and we’re absolutely thrilled to share our interviews from the day! In between taking movement workshops in the morning, observing a workshop dedicated to the work of Tino Sehgal in the afternoon and seeing Simon Mayer’s “Sons of Sissy” performance at night, we spent time speaking to participants and artists on site. Below is a run-down of our interviews (just click “more”), including approximate start times in the recording. Remember they take place on site at the festival, so you’ll hear lively background noise (and even some beautiful opera during Ray Chung’s)! (more…)


Magloire_reh_Gardner_1We sat down with Miro Magloire, choreographer of New Chamber Ballet, to learn how his musical background influences his expressive style of contemporary ballet choreography, what it was like being a piano accompanist for ballet class, and how he selects fascinating contemporary composers for his work, like Karlheinz Stockhausen.  We also had an interesting chat about the definition of musicality and how he uses his dancers to express his unique vision.

You can see his work on April 15th and 16th at City Center Studios (130 W. 56th Street) and also on May 19th at Florence Gould Hall (55 East 59th Street). Learn more about New Chamber Ballet and upcoming shows at


Jeremy NeddWe made it to episode 10 and what a year it has been!  In this episode, we talk to dancer/choreographer/sound designer/DJ Jeremy Nedd about dancing in New York City for dance luminary Kyle Abraham and his experience in Europe as a dancer, choreographer and sound designer.  We chatted and wondered about dance snobbery, audience engagement, and intellectual and conceptual dance traditions. Our favorite quote from Jeremy: “Ballet is a feeling.” We could not agree more. Jeremy Nedd studied at SUNY Purchase and danced in New York City before relocating to Europe to dance with the Dresden SemperOper and the Basel Ballett.  He has had the opportunity to perform works by Forsythe, Kylian, Thoss, Ekman and others.


Episode 9: Brock Labrenz

Brock LabrenzBrock Labrenz of An Films is a New York-based director who harnesses his extensive background in performance to create deliberate and sensual audio-visual experiences.  His creative endeavors find him somewhere between the exactitude of modern cinema and the ephemeral transition of the body through space.

In this episode, Brock shared his experiences training as a dancer at Juilliard and dancing for William Forsythe–in particular, Forsythe’s creative process.  We learned what it was like investigating Forsythe’s concept of choreographic objects in Nowhere and Everywhere at the Same Time and how audiences engaged with this work.  Brock also revealed how his interests in dance and film developed over time and how both mediums support his current work.

We had an intriguing discussion about the role of the choreographer in developing audience values and the importance in creating a conversation with the audience around a concept or process.  We also discussed how work conditions in the US and Europe have varying effects on the creative process and performance experience.