Emilie Gallier is a choreographer researcher based in the Netherlands since 2007. She studied dance and pedagogy in Paris in 2002 (RIDC), Art History in 2005 (University of Rennes) and later she learned Laban notation (CNSMDP Paris). Moving to the Netherlands she completed her Master in Choreography at the ArtEZ Institute of the Arts in Arnhem and began working as artist researcher.
Since 2016 she is a PhD Candidate at C-DaRE (Coventry University) and was a research fellow of THIRD at DAS Graduate school from 2016 to 2019. Her research ‘Reading in Performance, Lire en spectacle’ investigates shifts in attention and in spectatorship when the audience of dance reads in the real-time of performance: what happens to documentation and to spectatorship in dance performances when the audience is reading?
Her choreographic practice deals with the writing and the reading of dance, with what she calls free documentation and implicated spectatorship. Her choreographic practice translates into performance works, scores, choreographic books, hybrid articles, lecture performances, and research papers.
Artist researcher since 2009, she is interested in formats of artistic writings and ways of sharing artistic practices in the field of research. She worked as a mentor for dance students in ArtEZ, she regularly gives lectures about her research and artistic research at Dance Institutions in The Netherlands (ArtEZ Arnhem, Fontys Tilburg).
She is currently a tutor for THIRD at DAS Graduate School (Amsterdam University of the Arts).
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?