Preview
PORTRAIT SOLOS
Dancers Studio West
Created and performed by Cori Caulfield
Runs until April 12
Dancers Studio West
It can't be easy for a dancer to be suddenly compared to a young Margie Gillis or Marie Chouinard. Vancouver artist Cori Caulfield idolizes them both, and as she debuts on Calgary soil this weekend in Portrait Solos, she brings a reputation and repertoire that is on the verge of expanding beyond those comparisons.
Caulfield’s creations are turning people’s heads across the country – she’s even stolen the spotlight at festivals with otherwise poor programming. Her movement is full-bodied and bursting with physicality, has comedic and theatrical edges, and often draws upon a literary knowledge to create a mirror of daily life. Having mustered up more than 40 solos, she’s finally commanding her own stage.
Considering the critics are raving about Caulfield, it’s hard to believe the dance community almost lost her to psychology at one point.
"I’m not sure how it happened, but I went into university for psychology and came out dancing instead," says the Simon Fraser graduate with a laugh.
Caulfield, a native of Port Moody, B.C., enlisted in the Goh Ballet at the age of four and broke free from ballet’s confines at 16. Not unlike many classically trained dancers, the experience deeply influenced her approach to contemporary dance, particularly in regards to the beauty myth. Party Girl, one of six solos she’ll be performing, is one of many takes on society's expectations of women.
"In the ballet world, the standard of beauty is so clear that there’s no grey areas," Caulfield explains. "When I was able to see beyond that, it opened up a new vista and completely altered my perceptions."
The beauty myth isn’t Caulfield’s only pit stop. Her "portraits" include Io Sono Dolce Amorosa, an opera-inspired piece questioning the relevance of classical form in technological times; Bought and $old, a statement on corporate domination; Bone, a play on pop-culture, extra-terrestrial predictions and genetic engineering, and Faith, a text-based exploration of religion and spirituality. Her themes may be grandiose and even controversial, but they can become tongue-in-cheek when you least expect it.
"These solos are definitely in my top 10," says Caulfield. "For the most part, the humour is dark, but people tend to laugh, so I guess it works."
Having performed internationally for choreographers like Cornelius Fischer-Credo, William Forsythe, Jennifer Mascall and Marie Chouinard, Caulfield’s influences seem abundantly clear on the surface. What makes her so original, however, can be traced to her research in psychology, her theatrical studies in mime and mask, and the fact that she has a good head on her shoulders.
"I get a lot of inspiration from books," says Caulfield. "Sometimes I’ll write 35 pages of notes based on a variety of sources. It’s amazing that I didn’t finish psychology, because it keeps coming back to me. Those things are so important to my work."
As she tours Canadian cities, Caulfield’s solos continue to evolve. Her company, Coriograph Theatre, has sprung to life full-force, and even includes a school of dance. After years of classical form and ensemble work, she’s happily settled into the solo as her raison d’être.
"I think I prefer them," Caulfield says. "Solos are more economical, and finances have been an issue for a long time. But given money, I would still probably do the solo.
"It’s our nature to hear about more universal things, but this is intensely personal. And given the universal versus the personal, I tend to connect to the personal." |
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