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AUDITIONS
[TITLE OF SHOW] A hilarious, heart-warming musical by two New York nobodies
Cameron McKinney, Jill Moshman and Isabella Tudisco-Sadacca
Registration opens at 9:30 on 3/1 Akeley Memorial Building, Stowe AUDITION TIMES: Saturday, March 1: 10 a.m. to 3 p.m. (CALLBACKS) Thursday, March 6: 6 p.m.. SHOW DATES: Thursday to Saturday, June 19 to July 5
Information/Audition Materials: titleofstowe@gmail.com • 253-3961 (leave message) and stowetheatre.com
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February 26
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Tenzing Rigdol www.flemingmuseum.org 61 colchester ave., burlington
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2/18/14 10:30 AM
STATE OF THE ARTS 25
The Meaning of the Masks. Friday, February 21, 8 p.m., and Saturday, February 22, 3 and 8 p.m., at the Mahaney Center for the Arts, Middlebury College. $6-12. Lunch and discussion, Wednesday, February 19, 12:30 p.m., also at the Mahaney Center. $5 suggested donation. go.middlebury.edu/arts
Tibetan forms and sacred images to create artworks that call into question issues of identity, preservation, and self.
SEVEN DAYS
AmY LILLY
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Meanwhile, the press release points out, BE should be remembered for its accomplishments, which include “65 concerts, summer camps for children, new music compositions written by children [through a collaboration with Music-COMP], … approximately $43,000 in donations to 28 community nonprofit organizations, and [the employment of] over 60 musicians in 3.5 seasons.” Dabroski also mentioned during the phone call that BE has paid musicians $44,500 over the past year alone. When Seven Days suggested it was sad the group was ending, Dabroski, ever the businessman, responded, “There’s nothing to be sad about.”
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understand] that just moving in a typical or stereotypical way would not suffice.” Under Brown’s tutelage, the students Jewelry Clothing & Accessories were asked to submit to a creative process that was conceptually and artistically rooted in authentic, fully embodied Your LocaL Source performance. Since 1995 For the Jouvay, “there’s this idea that you ‘play’ a mask; you don’t ‘wear’ Mon-Sat 10-6, Sun 12-5 14 ChurCh St • Burlington,Vt a mask, becoming a character,” Brown 658-4050 • 115 college st, burlington CrowBookS.Com • (802) 862-0848 says. “And as you see in really wonderful actors and really wonderful thespians, the more you play a character, the more 1 2/18/14 16t-crowbookstore100312.indd 1 2:34 PM it becomes part of you.” ARTIST’S TALK 9/27/128v-marilyns021914.indd Getting her students to embrace an emotional, rather than merely technical, approach to contemporary dance involved manifold lines of inquiry. These included an anthropological examination of the yearlong preparation that Jouvay participants put into “becoming” their carnival masks; and of the daily “masking” rituals of hair and makeup styling in American culture. The student performers spent a fair amount of time in group discussions and writing personal essays. The company seems to have approached the process with no holds barred — and it shows in the performance. “For me, [the meaning of masks] has Tenzing Rigdol (b. Kathmandu, 1982), Unhealed, 2010. Chromogenic color print. 36 x 24 in. Courtesy the artist. become to find a place, a mental place, where I can dance full out,” says dancer W EDNESDAY New York-based artist Tenzing Hai Do. “The process for me has been Rigdol speaks about his work ‘What do I need to do to prepare to get 6:00pm and experiences as a Tibetan into the mask, and what do I try to tell, artist in the United States. as I’m standing there in it?’” Rigdol often employs traditional
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intoxication — with their masks, which give them new realms to explore. “‘Counting Carnival’ was the underbelly of this whole process,” says Brown. When she took her students to the Caribbean five months into the multisemester artistic process, they understood that the piece they’d been rehearsing was liable to shift by the end of the trip. It might even be thrown out completely. Interacting with the place, people and culture behind the dance could profoundly alter their understanding of it. “What I wanted to do was give the students an entry point into vernaculars and movement techniques of African diaspora, without it being a physical assumption of movement,” Brown explains. “I wanted them to have a cultural understanding that was rooted in the place they were studying, [and to
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