Bridget Cauthery is a researcher, teacher and arts consultant based in Toronto. She holds a Masters degree in dance ethnography from York University where her research was nominated for a university thesis award, and she was recently awarded her doctorate from the University of Surrey, United Kingdom. Bridget is the Company Manager for Toronto Dance Theatre.
Elsewhere, Strauss explains in her program note, is a response to the notion of affect or affect theory. A concept that has been circulating in philosophical spheres since the seventeenth century, affect has become something of a catchphrase within social studies and visual culture in the last twenty-five years.
Posted October 14, 2014Toronto contemporary dancers Mairéad Filgate, Brodie Stevenson and Zhenya Cerneacov started their collective in 2008 during breaks while touring Ontario with Dusk Dances.
In her letter from the artistic director, Ng explains the genesis of Metamorphosis of a Solitary female Phoenix and Magnetic Fields, the two pieces in SoloDuet. Metamorphosis first debuted as part of Christopher House’s 12 Solos commissioning project for Toronto Dance Theatre in 2007 while Magnetic Fields, on the other hand, is a new work for dancers Mairéad Filgate and Luke Garwood.
Posted May 25, 2014ProArte’s Season 2013 mixed program was a mixed bag.
Posted October 24, 2013firstthingsfirst presents an evening of exceptional contemporary dance.
Posted September 30, 2013Ballet Jörgen Canada co-founder and Artistic Director Bengt Jörgen has created a new version of the classic ballet Swan Lake to commemorate the 25th anniversary of the company he and his life partner Susan Bodie founded in 1987.
Posted November 17, 2012HOMEbody: lessons in prairie living is a study in dance and landscape – a theme that seems to be cropping up all over the place at the moment.
Posted October 5, 2012I notice his long, sinewy feet and toes. I notice his tattoo. I notice his fencer’s stance with arms curved upwards, wrists twisted inwards. I notice the look of concentration on his face and the tautness in his neck and calves. I notice his strength and his vulnerability. Bridget Cauthery reviews Dancemakers’ Adaptation Project.
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