Salt Lake City Mime Troupe 1974-79  


Groupo History 1979-85 


Magpie History 1995-2005 


Magpie Umbrella 2007-now


Composition


Improvisation Festival Amsterdam 1994-99 - Katie Duck Contact Quartely


Improvisation Festival Amsterdam 1994-99 Robert Steijn Contact Quartely


Interview: Proxmity Magazine, Australia


Interview: Tangent Magazine, Montreal, Canada


Interview: Amsterdam Manifesto by Dance Artists


Improvisation Analysis 2: choice and chance


Dartington Time


What is the point at this point?


Questions: I am from Oxnard.


The dance company that could


Interview: Work in the 70s


Why Magpie speaks a different language


HIGH STAKES - Erk Aschengreen - Berlingske Tidende 18/1/02


POEMS for PIECES


Gruppo-1979-85

Florence, Italy















1985 with Allesandro Certini and Cahrlotte Zerbe


Choreography, Concept, Music design, Light design - Katie Duck


One hour productions: Rutles, Orange Man, Brown eye green eye, Mind the gap


Dancer/Performers - Marie Angela Pespani, Laura Corsi, Virgilio Sieni, Alessandro Certini,  Charlotte Zerbi, Kirstie Simpson, Frans Poelstra


Music - freelance sound designs - Katie Duck and Maurizio de la Navi, compositions - Tristan Honsinger


Gruppo pieces were designed around a concept, theme and story devised by Katie Duck, ran one hour non stop alongside a reel to reel tape recorder with light designs placed for each venue. Each production combined objects, text (within the sound score) and choreography. The company toured productions while in the process of making new work. Tours included the Netherlands, Poland, Germany, Belgium, Italy, France, Austria and England in the early 1980’s,  a period when dance festivals were being initiated all over Europe. The company was based in Florence Italy with access to countryside homes for intensive processes.


Katie developed a script for both the process and then the finale piece based on a concept, developed into a story line and devised with object - figure - choreography - music, text and light design. The performers were given themes for improvisations that Katie would place into time and space structures. The process was intensive allowing for periods when all the performers lived in the Tuscany countryside and finale periods in the studio of Trout Faggioni in Florence where finale touches were placed. The work was set in time to follow the music (reel to reel) score by Katie and Maurizio de la Navi out of a concept devised by Katie and an improvisation process with the performers.


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