From 1980 to 85 in Italy and then by the mid 80’s in England Katie continued her, work with improvisation musicians and participated in choreography’s. In 1991 she moved back to Amsterdam whee she lived in 1975-79. She changed her system for making pieces using text and poems as the base for the compositions with the choreography’s (“Crises, “Macha” and “Law”) and 3 solos (full length programs).
By 1995 she was developing Magpie alongside her solos being shown at the Frascati theatre in her Amsterdam base. She did extensive international tours in Italy, Spain, Scandinavia, Germany, Brazil, Asia and the USA. She was the artistic director of the yearly improvisation festival in collaboration with Robert Steijn at the Frascati theatre (1995-2000).
“Talking Dancers” Festival, The Kitchen Theater
“A weave of text and dance achieved untraditionally”. (Caption to the side)
“The weave of text and dance was achieved less traditionally with words and text serving as both text and aural accompaniment in Katie Duck’s solo from “Love Poems”. Ms Duck’s voice and Alex Waterman’s score for cello and electronically produced sound had a murmuring quality that complimented Ms Duck’s desultory movement style in this meditation on love.”
Jennifer Dunning, from the New York Times 2001
Zorba the Greek
Katie Duck is the Zorba the Greek of improvisation: earthy, feeling every mode of sensuality, preposterous, irresistible, polymorphously perverse. Watching her dance is like watching her body think. She is responsive to every situation and obviously enjoys getting into trouble. This piece with K.J. Holmes and Justin Morrison is sort of a round robin of quasi-sexual encounters, punctuated by nicely ridiculous utterances … It’s about bodies moving, bodies being attracted to each other … In the best improvisation you can’t tell what’s planned and what isn’t, but it all seems to flow, and this was true here …
Dance Magazine New York Wendy Perron 2002
Project with Michael Schumacher and Alex Waterman Holland dance festival 2004