Maggie Allesee National Center for Choreography welcomes Lin Hixson and Matthew Goulish of Every house has a door. They will further the development of their project, The Three Matadores, during their first MANCC residency. The work is inspired by a microplay, embedded within the booklength poem The Presentable Art of Reading Absence (Dalkey Archive Press, 2008) by American poet, Jay Wright. The Three Matadores micro-play, which has never before been staged, will constitute the second act of the two-act performance. The first act features solos by four artists, and the second brings the four together to stage Wright’s play, a bilingual English/Spanish text whose choreography alternates between mathematical permutations and movements based on bullfighting.
While at MANCC, Hixson and Goulish will be fine-tuning the theatrical and production elements during the residency in anticipation of their March 11-12, 2017 premiere at the Logan Center, University of Chicago as part of OnEdge. Additionally, they intend to meet with, Sarah Lawrence College literature scholar, Dr. Neil Arditi, to discuss the theme and context of Jay Wright’s work. Hixson and Goulish are also interested in examining bullfighting, specifically its structure and choreography as they relate to the work.
Will Daddario, author of the forthcoming Baroque, Venice, Theatre, Philosophy, will join the artists as part of MANCC’s writers initative, funded by The Andrew W. Mellon Foundation, to witness and document the creative process.
Every house has a door was formed in 2008 by Lin Hixson, director, and Matthew Goulish, dramaturge, to convene project-specific teams of specialists, including emerging as well as internationally recognized artists.
Matthew Goulish is dramaturge and occasional performer for Every house has a door which he co-founded in 2008 with Lin Hixson. His books include 39 Microlectures – in proximity of performance (Routledge, 2000), The Brightest Thing in the World – 3 lectures from The Institute of Failure (Green Lantern Press, 2012), and Work from Memory, in collaboration with the poet Dan Beachy-Quick (Ahsahta Press, 2012). He was awarded a Lannan Foundation Writers Residency in 2004. He received an honorary doctorate from Dartington College of Arts, University of Plymouth in 2007, and shared a Foundation for Contemporary Art fellowship with Hixson in 2014. His essays have appeared most recently in Art Journal, The Drama Review, and the books Support Networks, in the Chicago Social Practice History Series (School of the Art Institute of Chicago/University of Chicago Press, 2014), Performing Cities (Palgrave Macmillan, 2014), and Beckett and Musicality (Ashgate, 2014). He teaches at The School of the Art Institute of Chicago.
Lin Hixson is director of Every house has a door, a performance group she co-founded in 2008. She was director of the performance group Goat Island (1987 – 2009). She was awarded the United States Artists Ziporyn Fellowship in 2009, and a Foundation for Contemporary Arts fellowship in 2014. She received an honorary doctorate from Dartington College of Arts, University of Plymouth in 2007. She has received fellowships from The National Endowment for the Arts, The Illinois Arts Council, and the Chicago Dancemakers’ Forum. Her writing has been published in the journals Poetry, The Drama Review, and Performance Research; and included in the anthologies Live – Art and Performance; Perform, Repeat, Record: Live Art in History; and (with her drawings) Manifesto Now!: Instructions for Performance, Philosophy, Politics. She is co-curator of performance at Chicago’s Sector 2337. She received her MFA in Studio Arts from Otis Art Institute of Parsons School of Design in 1980. She is Full Professor of Performance at The School of the Art Institute of Chicago.
Every house has a door was formed in 2008 by Lin Hixson, director, and Matthew Goulish, dramaturge, to convene project-specific teams of specialists, including emerging as well as internationally recognized artists. Drawn to historically or critically neglected subjects, Every house creates performances in which the subject remains largely absented from the finished work. The performances distill and separate presentational elements into distinct modes – recitation, installation, movement, music – to grant each its own space and time, and inviting the viewer to assemble the parts in duration, after the fact of the performance, to rediscover the missing subject. Works include Let us think of these things always. Let us speak of them never. (2009) in response to the work of Yugoslavian filmmaker Dušan Makavejev, Testimonium (2013) a collaboration with the band Joan of Arc in response to Charles Reznikoff’s Testimony poems, and the on-going project 9 Beginnings based on local performance archives.
January 18, 2017 5:30PM
Montgomery Hall, Black Box Studio