[NEohioPAL]CPT and DANCECleveland present Gina Gibney in Time Remaining this weekend only

Wed Nov 13 14:53:43 PST 2002

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Cleveland Public Theatre
in association with DANCECleveland
presents

Gina Gibney Dance in
Time Remaining
November 15 - 17, 2002

NOTE: Saturday Evening is already SOLD OUT!
Call for Tickets Today!!!

Cleveland Public Theatre and DANCECleveland welcome Gina Gibney Dance with a
new work entitled Time Remaining for one weekend only. Performed in
Cleveland Public Theatre’s Gordon Square Theatre, the work is a
collaborative evening length project about the dual power of time to both
erode and renew. Time Remaining opens on Friday, November 15, 2002 at 8:00
p.m. and runs through Sunday, November 17, 2002. All performances will begin
at 8:00 p.m. with Sunday’s matinee at 3:00 p.m. Tickets are $18.00 with
students and seniors only $15.00 on Friday and Saturday and $15.00 and
$12.00 for seniors and students on Sunday’s matinee. For reservations or
information please call 216.631.2727.

Inspired by an image of ancient temple ruins overtaken by entangled vines in
Cambodia, choreographer Gina Gibney and her company of women collaborate
with composer Kitty Brazelton and visual artists normal group for
architecture to create Time Remaining, an encounter with the present, formed
by entwining the past and future. This evening-length Cleveland Premiere
features Gibney's new company -- Angharad Davies, Kirsten Johansen, Jessica
Lööf, Mariangela Lopez, Eden Mazer, and Bethany Prater. An all-male musical
ensemble including Keith Borden, John Brauer, David Bryan, Matt Goeke, Mark
Lin, and Alex Vittum will perform Brazelton’s score live. Gibney's team of
collaborators also includes lighting designer Kathy Kaufmann and costume
designer Naoko Nagata.

Composer Kitty Brazelton developed the original sound score using a live
male a cappella quartet, two instrumentalists (percussion and cello) and
recorded digital soundtrack in an effort to explore the effect of
pre-recorded Georgian and Renaissance music with Brazelton’s live vocal
improvisation. “I want a piece that will be through-composed, but
interactive, "breathing", so it can flex with the dance,” says Brazelton.
“Questioning tonality and seeking other ways of thinking about harmony and
modality has always been of great interest to me as a composer and
performer. As a singer, I am very curious about the voice naked of text…
using text where the meaning is secret or unknown.”

The set reflects the impact of time on both the material and the
configuration of architecture. By translating both decay and endurance, the
modular stage set pieces designed by Normal Group for Architecture (Sabine
v. Fischer + Srdjan Jovanovic Weiss) at one moment are a static backdrop or
a line bordering the stage; then they become mere fractures of the whole,
remnants for the dancers to interact with. While the impact of time is
reflected onto the material, the material influences the perception of time
by its artificiality that is timeless yet subject to change.

Both massive and light, the pieces are cut from plastic composites by using
CNC (computer numerically controlled) technology, where the material is
literally eroded by a beam of water into its final shape. Yet once on the
stage, the elements of the set take on many shapes; rotating, turning and
laid on the floor, they are at the same time pieces of a large assembly, and
individual elements within their curvature the dancers will find shells,
backrests and seats.

www.cptonline.org

Jeff Syroney
Director of Marketing and Public Relations
Cleveland Public Theatre
216.631.2727 ext. 203
jsyroney at cptonline.org
www.cptonline.org

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<DIV align=3Dcenter><FONT face=3DArial size=3D4>Cleveland Public Theatre =
</FONT></DIV>
<DIV align=3Dcenter><FONT face=3DArial size=3D4>in association with=20
DANCECleveland</FONT></DIV>
<DIV align=3Dcenter><FONT face=3DArial size=3D4>presents</FONT></DIV>
<DIV align=3Dcenter><FONT face=3DArial size=3D4></FONT> </DIV>
<DIV align=3Dcenter><FONT face=3DArial size=3D5>Gina Gibney Dance =
in</FONT></DIV>
<DIV align=3Dcenter><FONT face=3DArial size=3D6><EM><STRONG>Time=20
Remaining</STRONG></EM></FONT></DIV>
<DIV align=3Dcenter><FONT face=3DArial size=3D4>November 15 - 17, =
2002</FONT></DIV>
<DIV align=3Dcenter><FONT face=3DArial size=3D4></FONT> </DIV>
<DIV align=3Dcenter><FONT face=3DArial size=3D4>NOTE: Saturday Evening =
is already SOLD=20
OUT!</FONT></DIV>
<DIV align=3Dcenter><FONT face=3DArial size=3D4>Call for Tickets =
Today!!!</FONT></DIV>
<DIV align=3Dcenter><FONT face=3DArial size=3D4></FONT> </DIV>
<DIV align=3Dleft>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt; TEXT-ALIGN: =
justify"><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-bidi-font-size: =
12.0pt">Cleveland=20
Public Theatre and DANCECleveland welcome Gina Gibney Dance with a =
new work=20
entitled <B><I>Time Remaining</I></B> for one weekend only. Performed in =

Cleveland Public Theatre=92s Gordon Square Theatre, the work =
</SPAN><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">is a collaborative evening =
length=20
project about the dual power of time to both erode and renew. <B><I>Time =

Remaining</I></B> </SPAN><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-bidi-font-size: =
12.0pt">opens on=20
<B>Friday, November 15, 2002 at 8:00 p.m.</B> and runs through =
<B>Sunday,=20
November 17, 2002</B>. All performances will begin at 8:00 p.m. with =
Sunday=92s=20
matinee at 3:00 p.m. Tickets are </SPAN><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-bidi-font-size: =
7.5pt">$18.00=20
with students and seniors only $15.00 on Friday and Saturday and $15.00 =
and=20
$12.00 for seniors and students on Sunday=92s matinee</SPAN><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-bidi-font-size: =
12.0pt">. For=20
reservations or information please call 216.631.2727.<?xml:namespace =
prefix =3D o=20
ns =3D "urn:schemas-microsoft-com:office:office" =
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<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt; TEXT-ALIGN: =
justify"><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-bidi-font-size: =
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<P class=3DMsoHeader=20
style=3D"MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify; tab-stops: .5in =
center 3.0in right 6.0in"><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: black; FONT-FAMILY: Arial; =
mso-bidi-font-size: 12.0pt">Inspired=20
by an image of ancient temple ruins overtaken by entangled vines in =
Cambodia,=20
choreographer Gina Gibney and her company of women collaborate with =
composer=20
Kitty Brazelton and visual artists normal group for architecture to =
create=20
<B><I>Time Remaining</I></B>, an encounter with the present, formed by =
entwining=20
the past and future. This evening-length Cleveland Premiere features =
Gibney's=20
new company -- Angharad Davies, Kirsten Johansen, Jessica L=F6=F6f, =
Mariangela=20
Lopez, Eden Mazer, and Bethany Prater. An all-male musical ensemble =
including=20
Keith Borden, John Brauer, David Bryan, Matt Goeke, Mark Lin, and Alex =
Vittum=20
will perform Brazelton=92s score live. Gibney's team of collaborators =
also=20
includes lighting designer Kathy Kaufmann and costume designer Naoko=20
Nagata.<o:p></o:p></SPAN></P>
<P class=3DMsoHeader=20
style=3D"MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify; tab-stops: .5in =
center 3.0in right 6.0in"><SPAN=20
style=3D"FONT-SIZE: 10pt; LAYOUT-GRID-MODE: line; COLOR: black; =
FONT-FAMILY: Arial; mso-bidi-font-size: =
12.0pt"> <o:p></o:p></SPAN></P>
<P class=3DMsoHeader=20
style=3D"MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify; tab-stops: .5in =
center 3.0in right 6.0in"><SPAN=20
style=3D"FONT-SIZE: 10pt; LAYOUT-GRID-MODE: line; FONT-FAMILY: Arial; =
mso-bidi-font-size: 12.0pt">Composer=20
Kitty Brazelton developed the original sound score using a live male a =
cappella=20
quartet, two instrumentalists (percussion and cello) and recorded =
digital=20
soundtrack in an effort to explore the effect of pre-recorded Georgian =
and=20
Renaissance music with Brazelton=92s live vocal improvisation. =
=93</SPAN><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">I want a piece that will =
be=20
through-composed, but interactive, "breathing", so it can flex with the =
dance,=94=20
says Brazelton. =93Questioning tonality and seeking other ways of =
thinking about=20
harmony and modality has always been of great interest to me as a =
composer and=20
performer. As a singer, I am very curious about the voice naked of =
text=85 using=20
text where the meaning is secret or unknown.=94</SPAN><SPAN=20
style=3D"FONT-SIZE: 10pt; LAYOUT-GRID-MODE: line; FONT-FAMILY: Arial; =
mso-bidi-font-size: 12.0pt"><o:p></o:p></SPAN></P>
<P class=3DMsoHeader=20
style=3D"MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify; tab-stops: .5in =
center 3.0in right 6.0in"><SPAN=20
style=3D"FONT-SIZE: 10pt; LAYOUT-GRID-MODE: line; FONT-FAMILY: Arial; =
mso-bidi-font-size: 12.0pt"></SPAN> </P>
<P class=3DMsoHeader=20
style=3D"MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify; tab-stops: .5in =
center 3.0in right 6.0in"><SPAN=20
style=3D"FONT-SIZE: 10pt; LAYOUT-GRID-MODE: line; FONT-FAMILY: Arial; =
mso-bidi-font-size: 12.0pt">The=20
set</SPAN><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"> reflects =
the impact=20
of time on both the material and the configuration of architecture. By=20
translating both decay and endurance, the modular stage set pieces =
designed by=20
Normal Group for Architecture (Sabine v. Fischer + Srdjan Jovanovic =
Weiss) at=20
one moment are a static backdrop or a line bordering the stage; then =
they become=20
mere fractures of the whole, remnants for the dancers to interact with. =
While=20
the impact of time is reflected onto the material, the material =
influences the=20
perception of time by its artificiality that is timeless yet subject to =
change.=20
<o:p></o:p></SPAN></P>
<P><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Both massive and =
light, the=20
pieces are cut from plastic composites by using CNC (computer =
numerically=20
controlled) technology, where the material is literally eroded by a beam =
of=20
water into its final shape. Yet once on the stage, the elements of the =
set take=20
on many shapes; rotating, turning and laid on the floor, they are at the =
same=20
time pieces of a large assembly, and individual elements within their =
curvature=20
the dancers will find shells, backrests and seats. =
<o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt; TEXT-ALIGN: center"=20
align=3Dcenter><FONT face=3DArial size=3D6><A=20
href=3D"http://www.cptonline.org"><EM>www.cptonline.org</EM></A></FONT></=
P></DIV>
<P><FONT face=3DArial size=3D2>Jeff Syroney<BR>Director of Marketing and =
Public=20
Relations<BR>Cleveland Public Theatre<BR>216.631.2727 ext.=20
203<BR>jsyroney at cptonline.org<BR>www.cptonline.org =
</FONT></P></BODY></HTML>

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