- Researcher THIRD - Cohort 1
- DAS Research
THIRD Cohort 1
Emilie Gallier is a choreographer, a PhD candidate at Coventry University in the Center for Dance Research and a member of the THIRD research group at DAS Graduate School. Her area of research concerns movements of reading, readership, spectatorship, documentation in performance and audience participation. Her recent work ‘Papier Multiforme et Papier Comestible’ is the performative chapter of her PhD thesis where readership is examined through the lens of magic, hands and eyes. More recent works include the performances ‘Twists in the Body of the Big Spectator’ (2014), and ‘sync’ (2012/2014), the lecture ‘Read. Move. Implicated.’ (2014/2016), and the workshops ‘Movements of Reading and Dreams’ (2016/2017) and ‘Confluences’ (2016/2017) with Teoma Naccarrato. Emilie collaborates (a. o. Rosie Heinrich, Tilman Andris, Clémence Coconnier, Camille Gerbeau), teaches at Universities and Art Academies, writes, edits, and performs. She organizes her practice under PØST Cie.
She studied choreography at the ArtEZ Institute of the Arts in Arnhem and at the Programme de Recherche et de Composition Chorégraphique in Royaumont. She learned Labanotation at the Conservatoire de Paris, history of arts at the University of Rennes, and pedagogy at the Rencontres Internationales de Danse Contemporaine in Paris.
Dance Documentation in Audience Participation
I study forms of dance documentation that propose an experience of reading to the audience in the moment of performance. I reflect on these reading experiences as qualities of participation.
My research revisits dance documentation seeking for what would free documentation be and observing the performativity of such ‘free’ documentation. Regarding participation, this research looks at presence as the first and perhaps only necessary feature of participation to consider invisible and ungraspable forms of participation. It examines spectatorship in relation to readership.
My questions are: What happens in dance performances when the audience is reading? What else could oral transmission be? What might result of the dissolution of dance documentation?