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ELIZABETH WATERHOUSE

photo: © Dominik Mentzos

Born (1979) in upstate New York, Liz received her first dance education at Albany Dance Institute and the School of American Ballet. She graduated from Harvard University with a Bachelor degree in physics and completed her Master degree at The Ohio State University in dance. Reconciliation of art and science continues to be a central tenet of her work.

Liz is currently a doctoral student at the Graduate School of the Arts in Bern, where her research is supported by the Swiss National Science Foundation and the Volkswagen Stiftung. Her thesis takes the scientific concept of entrainment --the capacity of systems to synchronize-- as an opener: asking what philosophy of movement and the body is necessary to theorize practitioners' experience of entrainment in contemporary dance, delaying the theoretical problem of understanding whether improvisation and choreography are justifiably distinct or co-operative processes, and yielding when the melt of examples and severed discourses is ready to deal with subjectivity, material, and process in the real of dancing together.

Liz was invited by William Forsythe to join Ballet Frankfurt/The Forsythe Company, where she was a dancer from 2004 - 2012, working as a guest dancer and dramaturg until 2015. She has also performed with Lucie Tuma, Sebastian Matthias, Collective Ludwig and Marcus Schulkind. Working as a freelance choreographer, her recent works include the “Ingeborg Ruvina Project” at Theater Rigiblick in Zürich (2014), “Don’t Play! Eine Spectralgymnastic” at the Schaubühne Lindenfels in Leipzig (2013), and “Josefine” at Opera Krefeld (2012). Her performance-lecture series “Dance | SPEAK TO ME!” was produced by Künstlerhaus Mousonturm in 2014. As a dramaturg she has worked with Fabrice Mazliah/The Forsythe Company on “In Act & Thought” (2015), the collective MaMaZa on “Eifo Efi” (2013), and William Forsythe on “Sider” (2011), as well on projects in design and photography. In 2013 she was awarded a fellowship for dramaturgy from Akademie Musiktheater Heute, leading to a collaboration with composer Saskia Bladt on “Daphne” (2015).

Liz’s writing on dance is published in diverse sources, including Contact Quarterly, Frontiers of Human Neuroscience, Etcetera Magazine and the book Theater Ohne Fluchtpunkt. Interested also in writing as a medium, she is co-inventor of the typographic project the Albert Einstein handwriting font, created by Harald Giesler in 2014.

Liz is also an active teacher. Since 2015 she has taught practices of contemporary dance within the Institut Ästhetische Praxis und Theorie, at the University of Art & Design in Basel. Liz has also been part of innovative projects in dance outreach and review, including the 2015 Dance & Parkinson`s project Störung/הפרעה, and the team InnoLernenTanz at the Palucca Hochschule in 2012. She is certified instructor of the GYROTONIC® method and a certified Pilates Mat instructor from the Kane School of Core Integration in New York City.

Liz’s current projects adhere to the following principles: non-hierarchical work structures (i.e. teamwork, collaboration, working alone); working productively with doubt towards invention; simultaneously pursuing aesthetic, embodied, and discursive rigor; meaningful communication to novices and experts; and maintaining a sense of humor. Her research interests include aesthetics and metaphysics of choreography, entrainment, object usage, documentation of collective practice, musicality, and notation forms.


http://www.dancelikething.org





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