I n t e r a k t i o n s - L a b o r

Marguerite Caruana Galizia

(Great Britain)

Originally from Malta, Marguerite moved to London to train at London Studio Centre and London Contemporary Dance School, graduating with a BA (Hons) degree in Contemporary Dance in 2003. As a dancer she has worked with a number of independent choreographers including Rick Nodine, Jan De Schynkel, Miranda Pennell, Janet Randell and Carol Brown. In 2004 she received the Marion North mentoring scheme award from the Bonnie Bird Choreography Fund and has since continued to develop her own choreographic voice. In 2005 Chisenhale Dance Space supported her research through their Artists Programme. She graduated with an MA in Choreography from London Contemporary Dance School in July 2010. She is currently a bursary artist at DanceDigital where she completed a research project Impossible Spaces, jointly funded by DanceDigital and the Arts Council England. Her attendance at the Interaktionslabor has been supported by DanceDigital and the Lisa Ullman Travelling Scholarship fund.

website: www.margueritegalizia.com

Artistic Concerns
Over the last year, with support from DanceDigital and Arts Council England, I developed Strange Loop (2011). My research involved the integration of live projection in performance. I used Isadora software to carry out real-time video processing, (a combination of video delays, mirrors, live capture and pre-recorded material), to facilitate the interaction between the live dancer and their virtual counterpart.

Strange Loop set the tone for my continued research in this field which I aim to develop further during this lab. I am interested in creating movement work which engages with the extended space offered by the projection, using technology to confuse the viewer’s perception of depth, perspective and time in a playful and humorous way. My interest is not simply in creating a new space behind the dancer, but in bringing about an intersection of the two spaces. I am also concerned with developing an interdependency between the real dancer / space and the projected dancer / space, so that they both need each other in order to make sense to the viewer. An important consideration for me is to question what this relationship does to the movement exploration. How does it expand the performer and viewer’s perception of space? What effect does this new space have on the dancer’s movement and performance presence? How can these