This project is generously supported by:
The Bossak-Heilbron Charitable Foundation
and
Office of Cultural Affairs, Consulate General of Israel in New York
Regarding the New York City Premiere of The Heist Project:
These performances were made possible, in part, by The Joyce Theater Foundation, which owns and operates Joyce SoHo.
Photo credits on this page top to bottom:
1) by Jubal Battisti of Belinda McGuire in Sharon Moore’s Anthem for the Living
Copyright Belinda McGuire 2007-2011. All rights reserved.
THE HEIST PROJECT, is a one-woman dance event featuring newly commissioned works of five international artists. Belinda McGuire will perform solo choreography by Sharon Moore (Canada), by Idan Sharabi (Israel/The Netherlands) and a collaboration between McGuire (Canada/USA) and Emio Greco|Pieter C Scholten (The Netherlands).
Music by Derek Aasland, Alexander Balanescu, Jerome Begin, Joni Mitchell, lighting by Kate Ashton and costume by Katharine Mallinson.
Notes on THE HEIST PROJECT:
The project is likened to a jewel heist – meticulously imagined and designed, but ultimately brought to life or “achieved” through necessary spontaneity in response to the unfolding action. This theme applies to Heist as a whole, and to the individual dances of which it is composed. Though this is an essential aspect of live performance, and therefore not uncommon, "necessary spontaneity" and reactivity serve as the backbone of these choreographers' work - peaking their curiosity, driving the creative process and shaping their artistic identity. It is one common trait of these five creators, though it propels their choreography in very different ways.
Another jewel heist parallel: As I engage in creation with each of my collaborators, though I am applying my own specialties, I am always pulled into unknown artistic territory, venturing where I may not belong, taking something that was not originally mine. This boundary-crossing happens from both sides of the collaboration, and creates an imbalance or tension which makes it NECESSARY or inevitable for reactions, changes and involuntary innovation. THIS is what I love.
To some degree, all three works test the idea of choreographic design as a game, so that the events, actions and movements occur as a reaction to stimuli. Essentially, it is the stimuli which are choreographed rather than the resulting events/actions/movements. This not only allows, but necessitates presence, sensitivity, reflex, and adaptability.*
It is a thrill to be involved in such vital work, and to be aware that I, like my collaborators and even you, potential audience, am one of many elements of this large and vibrant equation, but an influential element, nonetheless.
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*I recently happened upon a brilliant episode of Radiolab, which looks at the the relevance of sports, games and general play to REAL LIFE - functioning as a proxy or microcosm, so that the player can practice and test existing rules or theories, while exploring and taking risks in this low-stakes, renewable scenario. Interestingly, the most fulfilling games represent an ideal balance of freedom and form, where initial observance of structure is the way to marvelously uncharted territory, requiring resourcefulness and bringing about a delicious sense of empowerment. This perspective struck me as being immediately applicable to the performing arts, and particularly pertinent to The Heist Project.
