I am a director/performer/teacher who has been working professionally since 1976. I have dedicated my life to my work as an on going process rather than settle into one specific methodology or frame. I am working in the context of the time I am living in day to day. My work is the voice for how I feel about that. I am a feminist with an edge to move things along rather than look behind.
By the 1980’s, I began to take a microscopic study for the role improvisation plays in real time composition integrating music, movement, object and writing. Improvisation in my performances is not the antithesis of choreography or composition; it is how I make my art work out of practice both in the studio setting and the newness of real time improvised performance. My performances are about the experience of being there, you are participating in the event and thus, in a sense, the work”. my practice is a reflection of what I believe art in the theatre can only be; live.
I have developed a manifesto in how I conduct research, rehearsal processes, and workshops towards performances based on my background working with live musicians beginning in the mid 70’s and my obsession to write and then voice text in a mix with my musical background. Over the past 15 years, I has integrated my curiosity for developmental brain studies as a part of how I teach movement research and how I work with live public. Public, in my performances, are witnesses and the main provider for how the piece is perceived.
My performances are a practice of presence in a sound driven space with a flirtation to engage public so hopefully they remember what they have seen, heard and felt long after the live performance has died. The combination of moving, seeing, hearing, feeling and deliberately volunteering to expose myself in front of an audience alters my perception of time, space and emotions. What I do for a living is an induced neuron madness
CAGE- a solo with an invitation for collaboration.
Created in 2014 / 50 min / sound track, film, text and score by Katie Duck
The performance contains images that provide a theatrical theme by way of a black dress, a chair, three wigs, texts, movement and sound. My text is non narrative based on four titles; The Institutionalization of Everything, Love, The Anatomy of the Vagina, Death. The sound track is a playground I change for reach performance. It contains sonic toys that create a tension alongside my nerdy research into pop music that I do for each culture that I visit. The film provides a base for a light designed that I create once I am in the theater space where we play.
The text is placed in and around her use of body, space, sound and objects that she discovers in each location. I have designed a film that plays behind the performance and re make a sound track (playground) for each event according to songs or sounds the collaborating artists wishes to hand me, according to the culture where I am playing and according to the space where it is played.
I use CAGE as a score that I can share with artists where I travel, offering a platform to voice their artistic, cultural and personal expression. My ambition is to play CAGE in as many cultures as possible so that the material I have written in the score CAGE can continually develop and be played in real time for live time audiences. My relationship to public’s with CAGE is that they notice that I am a guest in their culture and that the real time performance element of the work places them as witnesses rather than passive aggressive viewers.
The title Cage refers to the composer John Cage whose scores, among other things, introduced musicians to choice. This piece uses choice in how the performers form a relationship to the public, in how the guest artist is integrated into the score and how a % of the piece is improvised.
The title CAGE also refers to how the institutionalization of absolutely everything, the loss of love, the need to face the anatomic technology perfection of what the Vagina actually is and the use of death as tactic for fear has suppressed our emotions and feelings forcing us all to live in a CAGE.
We view distressing events daily and are able to tuck this in a pocket of our consciousness until eventually panic attach grips our spirits and anything social seems beyond reason. The human condition to feel what we see and hear is numbed, boxed away in the normal. The new normal is violence. The new normal leaves little space for anyone to feel the violence.
Language, politics, money freezes society in a delusional state of mind. The continual alienation of woman as an integrate role in our societies (and I do not mean joining the boys club or playing along with the rituals of male bonding) suppresses men and woman alike. CAGE is played by one nomadic woman and a artist or artists from the culture where it is played. It is not played only by women artists. It has been played by several different gender combinations of artists. CAGE offers no solutions by way equal rights using sports metaphors, winners or looser. Cage is about – total take over.
CAGE has been played in Italy, the USA, Hong Kong, Spin, Holland, Slovenia, Argentina, Canada and Mexico as a solo, as a duet and in some cases as a group piece with live musicians.
This solo can be performed alone by Katie Duck or as a score open for collaborations with performance artists, dancers, musicians and actresses where ever Katie is asked to tour.
GROUP WORK (on-going)
In her group work, Katie uses a theme as the spine for her scores and transforms the theatre with her lighting and music design. Because her work is non narrative and that the performers choices are what move the piece live time, the bulk of her process is a workshop. She prepares the performers to radically make choices in confrontation with live public and then applies the score, music/sound and light in the finale days. She creates a situation where everyone is in deep process of the creation with an aim to insure that the event is readable for public’s and yet leave each of the performers with a unique experience that they can use in what ever way is useful for their creative processes
Katie also leads group work events where the participants are placed in a situation to create their own work. In these processes the participants can collaborate with musicians, film, text, sound and lighting of their own choice. Katie workshops with the participants, does tutorial advising sessions with groups about their creation process towards performance and then leads the situation towards an event much like the “Freakatoni Witchy Weekends” (Amsterdam improvisation summer course). Participants are encouraged to provide short pieces that are scores set in live time and to centre on the collaborative in their rehearsals. In these group works, Katie uses her background collaborating with musicians, actors, dancers and singers.
Required for commissions outside Holland: Air travel round trip / Hotel / Per diems / salary
Non profit organisation the Netherlands: Stichting Magpie / Wilhelminastraat 139-3 1054 WC Amsterdam, the Netheralnds / BTW # NL8112.78.062 / KVK # 34182907