DeAnna Pellecchia makes viscerally charged dance theater which is emotionally rich and starkly beautiful. Her unique choreographic style, movement that blends sheer athleticism with quirky gestures and intricate footwork, is influenced by her studies in traditional dance technique, Hip-Hop, Tae Kwon Do, Capoeria, and Performance Theater. She crafts original dance performances both site-specifically and for the stage, based on current repertoire or created from scratch. Her choreography has been described as"dramatic...effective... blistering...and sensuous".DeAnna has created numerous solo performances in collaboration with musicians, filmmakers, and visual artists. She has also worked as a guest artist, creating original dance pieces for various company's. Additionally, DeAnna makes work as Kairos Dance Theater in collaboration with choreographer Ingrid Schatz, and as Savage Amusements in collaboration with musician Ed Broms.
COLLABORATIONS
AMERICAN FESTIVAL OF MICROTONAL MUSIC & CELLIST DAVE EGGAR
ENSEMBLE / DIRECTOR'S BIO: The American Festival of Microtonal Music, Inc. (AFMM, since 1981) was founded by Johnny Reinhard to showcase past and contemporary microtonal music and to introduce microtonality to the listening public. Through both his direction of the AFMM and other individual efforts, Reinhard has almost singlehandedly revived public awareness of microtonality in the 1990's. The AFMM has become a leader in new music activity today. The AFMM produces concerts of Microtonal Music internationally. Microtonal Music is Music which is generally not based on the 12-tone equally tempered scale which is so prevalent in western music. It is not constrained to any style or time period. Concerts have included traditional music, rarely performed pieces, lots of original pieces, theatrical pieces, audience participation, ensemble work, well-known classics in original tunings, microtonal rock, hoomi singing, music for Homemade instruments, and of course lots of bassoon music.
DAVE EGGAR'S BIO: Dave Eggar has performed throughout the world as a solo cellist and pianist. A graduate of Harvard University and the Juilliard School, Mr. Eggar has performed and recorded with artists in many genres including the Who, Michael Brecker, Dave Sanborn, Josh Groban, Evanescence, Trans-Siberian Orchestra, Kathleen Battle, Eugenia Zuckerman, Manhattan Transfer, Sheryl Crow, Breaking Benjamin, Nelly Furtado, Corrine Bailey Rae, Ray LaMontagne, Lyfe Jennings, Abbey Lincoln, Claudio Scimone, Leonard Slatkin, Ruggiero Ricci, Ornette Colemann, DJ Spooky, and many others. He has won grants and awards from ASCAP, the Leonard Bernstein Foundation, Time Magazine, the National Foundation for Advancement in the Arts, the NEA, Meet the Composer, SAISON foundation, and Harvard University for his work in contemporay music. Dave has released three solo records on the Virgin/Domo and Domo Record Group labels.
"Odysseus" A theatrical polymicrotonal opera Directed & Composed by Johnny Reinhard of theAmerican Festical of Microtonal Music featuring Cello soloist Dave Eggar and Choreographer / Dance soloist DeAnna Pellecchia with 50 additional musicians
Odysseus was conceived for cellist Dave Eggar by composer Johnny Reinhard following several years of close collaboration between the two artists. The work follows the chronological journey of fabled Odysseus, the hero of Homer's Odyssey, as he returns from Troy to Ithaca, Greece. In Odysseus each instrument, played by over 50 musicians, embraces a special tuning to correspond to a character or personality in the epic. Homer tells us that the Goddess Athena considered Odysseus the “Master Improviser.” Throughout the piece all the musicians improvise. In the hands of a true master improviser, Eggar’s cello of course takes on the role of Odysseus.
The piece consists of an introduction, three full sections, and a coda. Instruments include an animal horn, various string instruments, French horn, bagpipes, clarinet, bassoon, mandolin, electric Just Intonation guitar, Theremin, and trombone. Performing as a soloist, DeAnna played "CIRCE the sorcerer" and "the lead SIREN", dancing opposite Eggar; she also played the narrative role of "Deliverer of the Dead"; additionally, she coordinated the staging of the 50 plus musicians and singers in the performance, which included grammy-nominated pianist Joshua Pierce and singer/songwriter/recording artist Dina Fanai. Odysseus premiered at St. Paul's Chapel at Columbia University in 1996. The Boston premiere was at The Cathedral Church of St. Paul on Tremont Street, marking the very first ever Boston performance by AFMM, a 30 year music icon in NYC.
FILMMAKER GARY SHORE & DIRECTOR OF PHOTOGRAPHY CHRISTIAN DeREZENDES
BIO: Gary Shore has won numerous awards for his choreography, performance and filmmaking including two Orion Awards for filmmaking. His film, First Movement Form was presented in 2003 at Lincoln Center as part of the Dance on Camera Festival. His one man show, Educating Oedipus, was presented at the New 42nd St. Theatre in N.Y.C. In Paris, he studied mime with Etienne Decroux, and while there attended the National Circus School of Paris.
“Children of Providence” A Feature-length Film written and directed by Gary Shore Director of Photography: Christian De Rezendes
DeAnna plays Roxie, the lead character in Gary Shore’s latest feature-length film entitled, “Children of Providence”. Mysterious Roxie and her inquisitive daughter Molly drive to a new town and a new life. They set up a successful dress shop on the main street of the town. Roxie designs and makes dresses for several of her fellow merchants on the street. They are all artists of one sort or another and are preparing for the annual town talent festival. Roxie’s dresses have a dramatic effect on the outcome of the festival, as well as the lives of the shopkeepers. The magic of creation takes everyone on a journey of introspection, salvation and finally transformation. In addition to portraying the character of Roxie, DeAnna choreographed all of the movement sequences in the film in collaboration with Gary Shore. “Children of Providence” was shot on location in Rhode Island in August 2007 and premiered on January 24th, 2009. It is currently entered into film festivals both nationally and internationally. Check back for updates and announcements - DVD's coming soon!
THE ORDER OF THE ARTISTS
ENSEMBLE BIO: The Order of the Artists (OA) is a multimedia ensemble founded by director Edward A. Broms (ACM Recording Artist and former Blue Man Group Musician) in 2002. The OA is founded on the principles of explicit integration of various artists and art-forms, art as the highest expression of the divine, and performance as ritual. The OA's previous work has concentrated on the exploration of improvised mythic archetypes through a series of rituals on the major feast days of the solar calendar such as solstices and equinoxes. Other work has included small units of the ensemble performing completely improvised club sets, where the audiences have been know to sit in awed silence for up to an hour in otherwise normally noisy bars.
"Animlas" & "Mess Up" The Order of The Artists
The current works are based on the electronica explorations of Fraction (aka Eric Raynaud, composer) from Paris, France, who has recently released two completely improvised electronica albums, Animals and Mess Up, each about 45 minutes in length. Animals explores themes of following "instinctual orders" over conventional artistic intentions, and Mess Up explores aspects of the quintessential performance nightmare actually happening: essentially arriving to perform completely unprepared, and without any of the proper equipment, a scenario which played itself out at a recent Fraction show, which in turn generated this ingenious recording.
The cast, after a period of studying and living with these recordings, offers composed additions to, and improvisations based on, these recordings, performed in real-time against the sonic backdrop of the recordings themselves. These works feature mythic storytelling and music by longtime OA regulars Ed Broms, Dani Dalnian, Maria Orlova, and Marty Levin among others. DeAnna Pellecchia created original choreography for the pieces, danced by Pellecchia, Mary McCarthy and Danielle DiVito. Pellecchia also designed and directed the staging for the 8 cast members, crafting a seamless integration of narrative, music and dance.
BENNETT DANCE COMPANY
COMPANY BIO: Bennett Dance Company (BDC) engages diverse audiences by presenting dance as an empowering, accessible art form through the creation of collaborative, multi-media performances, which are developed both site-specifically and for the stage. Collaboration is at the heart of the work which blends contemporary dance with visual arts, including sculpture, landscape and photography; diverse movement forms including aerial dance and martial arts; and original music composition, often performed live. The Company crafts work collectively by utilizing the strength and experience of its members. BDC's commitment to marrying dance with diverse mediums continually challenges dancers to discover a new physicality during the creative process. Through visceral, athletic movements in non-traditional settings (on stilts, tangled in nets, encased in boxes), BDC dancers enmesh themselves in unexplored environments, realizing and revealing a sense of poetry and fearlessness beyond mere technique or physicality. DeAnna was a founding member of the company; she danced with BDC from 1999-2007, during which time she was also the company's Rehearsal Director and Assistant Choreographer.
"Hinges Keep a City: Neighborhood Stories" A multi-media play featuring Bennett Dance Company presented by The Huntington Theatre Company's Education Department in association with the Boston Center for the Arts
For the development of "HINGES", Huntington educators conducted and transcribed nearly 300 pages of oral history interviews with residents from the South End, Fenway, Mission Hill, and Lower Roxbury. These transcripts were turned over to a team of artists who focused in on the most compelling themes and flushed out a narrative storyline. The artistic team included playwright Kirsten Greenidge, theatre director Judy Braha, visual artist Chandra Dieppa Ortiz, composer Hugh Hinton, and Bennett Dance Company, led by dancer/choreographer Christine Bennett, and dancer/assistant choreographer DeAnna Pellecchia. "HINGES" wove together the memories, transitions, and legacies of people living in Boston neighborhoods during the 20th century, specifically focusing on the social and racial issues facing the community at that time. "HINGES" ran January 14- 23, 2005 at the Stanford Calderwood Pavilion at the Boston Center for the Arts. The play was produced by the Education and Community Outreach Department’s Storytelling for the Ages (STAGES) program. This edition of the program, funded in part by The Boston Globe Foundation and the National Endowment for the Arts, was designed as part of the Huntington’s inaugural year-long celebration of the new Calderwood Pavilion.
SOLOS
La Loba Commisioned by Boston University
"La Loba”, collaboratively conceptualized by Pellecchia & musician Ed Broms, incorporates an original music score performed live on piano, which serves not only as instrument, but also active set. This piece was inspired by passages from Clarissa Pinkola Estes’ book “Women Who Run With the Wolves” and was made for DeAnna’s late grandmother, Doris Evelyn.
Platform Commissioned by Boston University
Set on a stage filled with platform shoes, DeAnna's newest solo addresses the socio-political "platforms" of our time. Adorned in red, white and blue DeAnna incorporates strong visual imagery with spoken word and sharp, disjointed choreography to comment on the personal choices we as Americans make on a daily basis.
Doll Produced by Outside Art Collective In collaboration with musician Matt Samolis
Set to an original banjo score by Boston-based musician Matt Samolis, better known as 'Shoe', "Doll" was presented at Outside Art Collective's 'Vroom, Vroom, Vaudeville' held at the legendary Middle East in Central Square, Cambridge. Complete with plaid skirt and red circles for cheeks, the sweet, innocent 'doll' begins tap dancing 'Shirley Temple' style as the banjo correspondingly plays even-tempo cords. As the piece progresses the music shifts from docile to crazy, and so does the tap dancer. The doll image is shattered and the audience is left in hysterics as the 'good--ship' tap dancer becomes a slam-dancing psycho.
Tang Commissioned by Boston University
"Tang", a five-minute solo of dramatic, athletic energy, set to an intense score of Tango percussion by Lalo Schifrin, draws inspiration from the tension that builds in the ring of a bullfight. This work combines elements of hip-hop, Flamenco, Tango and modern dance with movement stemming from various martial art forms including Capoeira, Wushu and Tae Kwon Do. Clad in black and red, DeAnna dances and fights with elusive opponents, moving from and within the prescribed circle.
Shine Commissioned by The Huntington Theater Company In conjunction with Bennett Dance Company "Shine" celebrates the heyday of the 50's when 'Shoeshines' lined the corners strutting their stuff for tips..."Hambone, Hambone, have you heard?" Set around a four-legged stool, virtuosic movement combines rhythmic hand slapping and foot stomping with acrobatic feats on and around the prop. Vocal improv is provided by Chris Cote of Seks Bomba as the Shoeshine incites the audience to laugh, cheer and increase their tips...
GUEST-ARTIST WORKS
Passing By Commissioned by Roger Williams University
Even Three Commissioned by Cambridge School of Weston
Passing By Commissioned by Cambridge School of Weston
Pleiades' Accoutrements Commissioned by Roger Williams University
Seeing Red Commissioned by Northern Essex Community College
See description of "Tang" and "Corrida de Toros"; "Seeing Red" utilizes the same material for a cast of 4 dancers. The original version of this piece, "Corrida de Toros" (see description below), was created for a cast of 12 dancers and was commissioned by Roger Williams University in 2002.
Corrida de Toros Commissioned by Roger Williams University
"Corrida de Toros" (Spanish for 'Bullfight'), cultivated during a one-week workshop for a group of 12 dancers, exists as the inspiration and source of movement vocabulary for Tang. Here, performers dance and fight with one another within the prescribed circle, interacting with opponents who are not only imaginary, but also very real. Relationship is the focus of this piece, set to an intense score of Tango percussion by Lalo Schifrin and music by Jack Johnson. The action and reaction of the players work to electrify the space and draw attention to individual's movement choices.
When I Am Here Again Co-Choreographed with Ingrid Schatz Commissioned by Bennett Dance Company
Set on BDC students, this piece was crafted during a 2-week intensive workshop utilizing structured improvisation to cultivate and then set material. Danced to diverse music including French cabaret, guitar by Ani DiFranco, and jazz by Nat King Cole, "When I Am Here Again" paints the surreal landscape of one woman's dream as she floats among 11 others, all adorned in evening gowns, from one obscure vignette to the next. Sometimes the dreamer merely witnesses the happenings and sometimes she seamlessly becomes a part of them. Scenes curiously reappear, slightly askew; the thin line between reality and fantasy exists as a blur ...
SITE-SPECIFIC WORKS CHOREOGRAPHED IN COLLABORATION WITH YOUTH GROUPS
Reservoir 'The Ressie' Co-Choreographed with Ingrid Schatz In Collaboration with No Man's Land Youth Group Commissioned by Medicine Wheel Productions
"Reservoir" explores the power and importance of water, or lack there of. Guest artists from Bennett Dance Company perform with the teens; movement assumes the elemental qualities of water and centers around a copper well designed by visual artist Michael Dowling. The sculptural urban landscape of 'No Man's Land' becomes a character all its own in this performance as movers portray the co-dependent relationship between water and the land we stand on.
"Reservoir" was funded in part by the Boston Now Program, and the Massachusetts Cultural Council.
Threshold 'The Mythology of Beings' Co-Choreographed with Ingrid Schatz In Collaboration with No Man's Land Youth Group Commissioned by Medicine Wheel Productions
"Threshold" transverses the gardens, fences and stone paths of 'No Man's Land', while incorporating spoken text, dance, gestures and partnered lifts. Movements, derived from original poetry written by the teens, symbolize passageways that mark significant transformation through the course of our lives. A work about personal and communal metamorphosis, "Threshold", illustrates the ever-changing world we live in through the eyes of young adults.
"Threshold" was funded in part by the New England Foundation for the Arts, the Boston Now Program, and the Massachusetts Cultural Council.
Turf Co-Choreographed with Ingrid Schatz In Collaboration with No Man's Land Youth Group Commissioned by Medicine Wheel Productions
"Turf" is a piece about boundaries. Inner cities continue to be hot spots of ethnic, racial and political tension where youth are sometimes assumed to be unaffected by their cultural climate. "Turf" marks the first year of a performance component to the art-based program at No Man's Land. Movement inspired by physical tasks performed on the land and poetry derived from sometimes heated discussions with the teens, reveal true feelings about the city they live in, lines they cross everyday and hopes for making their neighborhood a better place for the future. "Turf" was awarded the "Boston Peace Party Community Star Award" from the City of Boston for outstanding work in fostering peaceful neighborhoods.
