Monica Bill Barnes & Company | Mixed Repertory: A Performance and Demonstration

Performance Guide

Cuesheet

Monica Bill Barnes & Company

A Performance D e m o n s t r at i o n

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The World Is a Stage In this performance/demonstration, Monica Bill Barnes will talk about her choreography and demonstrate key elements of her approach. Afterward, you will get a chance to see the company perform two dances: mostly fanfare and Everything is getting better all the time.

Breaking Barriers and Reaching Out to the Audience Monica Bill Barnes wants to connect with her audience. To do this, she attempts to break the barrier between the performers and the viewers in several ways. Watch for: n the

use of familiar movement. The dancers may trip or stumble, clap their hands to the beat, or even act out everyday events like dusting something off.

Dance, Film, Theater‌ and the Circus?

When watching Monica Bill Barnes & Company, you may wonder if you are seeing dance, comedy, theater, or a showy circus act. Her work combines all of them together in performance. Think about the following elements of her approach to dance:

n humorous moments, including

outlandish facial expressions and outrageous movement or tricks, allowing the audience to relax and not take the performance too seriously.

The company of four dancers starts out Everything is getting better all the time wearing men’s suits. Watch how they are dressed at the end.

COVER PHOTO BY ADRIANNE MATHIOWETZ . ALL OTHER PHOTOS BY CHRISTOPHER DUGGAN.

In mostly fanfare, the dancers balance chairs while dressed with a head plume of white feathers.

The Work mostly fanfare (2010) Music by Nina Simone

What’s Up with the Interruptions?

Like our lives offstage, the works by Barnes are full of interruptions. But why?

Barnes wants her dancers to be present in the moment, and says that the interruptions encourage them to do just that. The element of surprise helps the audience sit up and pay attention, while helping the performers not get too comfortable with known material.

Barnes would like her audience to feel that what is happening on stage is really happening right then and there. She wants it to feel real, not rehearsed.

Keeping it Real Many times performers try to hide the challenges involved in putting a production on stage. They want to make it all look easy, and try not to show their fear of failure or their imperfect dancing. Barnes is different. Her dances expose the emotions and effort behind performing, making her performers seem more human. Watch for: that show obvious effort to achieve an effect.

What happens when you try your best, but don’t succeed? Barnes gives us the answer in mostly fanfare: You get up, dust yourself off, and try again.

The performers in this dance want time in the spotlight, but have a bit of “baggage” from past failures. Watch for: n the

way the solo dancer is interrupted by something that unexpectedly falls.

Is this the imagined “baggage”?

n the

showy feather headdresses reminiscent of touring vaudeville stage acts from the days before television.

n the

trick with the chairs.

Everything is getting better all the time (2011) Music by Otis Redding

You want the big top? You got it!

This dance is about entertaining an audience—even to excess. You will see acrobatics and baton twirling while confetti is flying. Watch for: n dancing

with imaginary partners.

n dancers

n a

n moments

n the way the dancers try to one-up

when the dancers don’t succeed in their goal.

trick that the performers learned from YouTube. themselves and outperform each other.

About Monica Bill Barnes David M. Rubenstein Chairman Michael M. Kaiser President Darrell M. Ayers Vice President, Education Additional support for Performances for Young Audiences is provided in part by Adobe Foundation; The Clark Charitable Foundation; Mr. James V. Kimsey; The Macy*s Foundation; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; Paul M. Angell Family Foundation; an endowment from the Ryna and Melvin Cohen Family Foundation; U.S. Department of Education; Washington Gas; and by generous contributors to the Abe Fortas Memorial Fund, and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas.

“Have the confidence not to take yourself too seriously.”

—Choreographer Monica Bill Barnes

Major support for the Kennedy Center’s educational programs is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.

Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

Have you been wondering about Monica’s middle name? Why Bill?

When Monica was five years old, her parents let her choose her middle name. She came up with two options: “Snow White” and “Bill” after her grandfather. Her parents convinced her that Bill was a better choice. If you could change your middle name, what would you change it to?

Monica Bill Barnes lives in New York City. She wants her dances to celebrate individuality, humor, and theatricality in everyday life. Her company of four dancers has toured more than 30 cities in the United States.

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Learn more about Education at The Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet were developed under a grant from the U.S. Department of Education. However those contents do not necessarily represent the policy of the U.S. Department of Education, and you should not assume endorsement by the Federal government. © 2013 The John F. Kennedy Center for the Performing Arts Please recycle this Cuesheet by sharing it with friends!