His recent research explores the relationship between theatre and technology in movement-based performance.  Movement provides the conceptual lynchpin of his dissertation, which articulates an emergent aesthetic paradigm: screen performance.  In contrast to traditional notions of televisual technology, this study proposes the screen as a conceptual model that mediates phenomena excluded from the formal construction of theatre and film.  The development of this theory proceeds through close readings of artists who explore the disciplinary margins between dance, installation art, and cinema: filmmaker Chantal Akerman and choreographers Yvonne Rainer and William Forsythe.  His current research considers literary examples of screen performance in texts that use translation as a theme to explore the experience of individuals relegated to cultural margins, especially women and immigrants.  These artistic applications of translation lay the groundwork for his next project, which will study “sonic performance” in sound art, language-based plays, and experimental musical theatre.

Ryan maintains a website on the subject of performance at http://ryanplatt.net/.

Professor Ames has taught costume design and rendering for the theatre at the college since 1984, and has designed the costumes for the Drama and Dance productions during that time. A professional designer for theatre, opera and dance, she has designed over 240 productions during her career. Her credits include designs for Opera Colorado, the Colorado Ballet, Colorado Opera Festival, Theatreworks, the Theatre of Yugen, Kim Robards Dance Company, the Kennedy Center Imagination Celebration, the Smokebrush Theatre, the Children’s Theatre company in Minneapolis and the Body Packaging Live Art Ramp Show. In 2008 she designed the costumes for the world premier of “The Dybbuk” in Montreal, Quebec. Ames exhibits her award winning costumes nationally in many galleries and museums, and is the author of “Color Theory” (Costumer’s Quarterly.) Areas of specialization include rendering, fabric modification, Oriental dance and design, color theory, ethnic costume, performance art costumes and mask making. She is a member of the Costume Society of America, and the International Costumer’s Guild.

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Ms. Avramov is a nationally known cutter, draper, and designer who has worked with Indiana Repertory Theatre, the University of Colorado, Ohio University, Kennedy Center Imagination Celebration, Broadmoor Figure Skating Club, Opera Colorado, Colorado Shakespeare Festival, University of Colorado-Colorado Springs, and Smokebrush Theatre. She also designed costumes for productions at Yambol National Theatre and National Theatre Plovdiv in Bulgaria. Ms. Avramov continues to free-lance design for productions in Colorado and Bulgaria, and offers guest workshops in cutting, draping, and patterning.

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Professor Davis is a leading director, dramaturg, and arts consultant on the American theatre scene, and his work has been seen at leading theatres throughout the country, including New Federal Theatre (where he is Associate Producer), New Dramatists (where he was Director-in-Residence 1996-98), Negro Ensemble Company, Lorraine Hansberry Theatre, Cincinnati Playhouse in the Park, Geva Theatre, Stagewest, Oregon Shakespeare Festival, Trinity Repertory Theatre, Milwaukee Repertory Theatre, Arena Stage, Actors Theatre of Louisville, Dallas Theatre Center, TheatreWorks, and Pearl Theatre, to name just a few. Working with Actors Equity, Professor Davis spearheaded the Non-Traditional Casting Project, holding the First National Symposium on Non-Traditional Casting at New York’s Shubert Theatre in 1986. He has taught at many institutions of higher learning, including the Tisch School of the Arts at New York University, the Juilliard School, Brandeis University, Dartmouth College, University of California at Berkeley, Yale University, Howard University, and Ohio State University. Professor Davis has consulted for every type of arts organization in the country, including foundations, state arts councils, and individual theatres. He is the recipient of a 1997 Pew Fellowship, 2 Audelco Awards, and NEA/TCG Director’s Fellowship, a 1987 Obie Award, and Critics awards in Los Angeles, San Francisco, and Dallas. Currently, his directing is represented in New York by the New Federal Theatre’s world premiere of Rudolf Fisher’s latest play. Professor Davis resides in New York and Colorado Springs, and retains professional affiliations with the International Theatre Institute, the Society of Stage Directors and Choreographers, the Stage Directors and Choreographers Foundation, the National Black Arts Festival, The Acting Company, and Actors Equity Association.

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Marie has received her Masters degree from Yale University in the areas of set and costume design. She has worked under the tutelage of acclaimed designers Ming Cho Lee, Jane Greenwood, Michael Yeargan, Jess Goldstein and Peter Wexler in New York City. She has designed productions for the Yale Repertory Theatre which included the U.S. Premiere of “Fighting Words,” as well as Walden Media, a Walt Disney production company in Los Angeles. Marie recently completed drop designs for the International Thespian Festival of “Hairspray.” While teaching full time at the University of Northern Colorado she has designed the sets for “Titanic,” “Heartbreak House,” “Cabaret,” “The Tempest,” and “Falsetto’s.” Recent projects include “Elephant Man,” “Merchant of Venice,” and “Holes.” Marie has been teaching full time at the University of Northern Colorado while freelancing from her studio in Northern Colorado. Marie joins the faculty of Colorado College where she will be teaching set design full time in the fall of 2009.

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Patrizia, native to Switzerland, graduated from The Colorado College with a BA in philosophy in 1996. She spent the next five years dancing for the Martha Graham Ensemble in New York City. She also danced with the Pearl Lang Dance Theater, Shen Wei at the American Dance Festival and DanceArt in Hong Kong. In 2003 she earned her MFA in dance from the University of California at Irvine where she was a Chancellor’s Fellowship recipient. During this time Patrizia worked closely with renowned choreographer Professor Donald McKayle as his assistant and rehearsal director of the Donald McKayle Etude Ensemble. Mrs. Herminjard has been featured in Dance for Camera works showcased at the Seoul Net Festival, the Il Coreografo Elettronico Festival in Napoli, Italy and at the Caught Between: Dancing for Camera and Live Audience Festival in Hollywood. She is a three-time recipient of the PPAC award for excellence in choreography given to her by the Pikes Peak Arts Council in 2005, 2006, and 2008. She is currently on faculty at The Colorado College, president of the Colorado Springs Dance Theater and director of the Colorado College Dance Festival.
For more information on the Colorado College Dance Festival please visit:
http://www.ArtsFestival.coloradocollege.edu/dancefestival

Visit my website at www.PCHmotion.com

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Thomas Lindblade is presently the National Endowment for the Humanities Distinguished Teaching Professor at Colorado College, and was the college’s inaugural T. William and Nancy Bryson Schlosser Professor of the Arts. He teaches in Colorado College’s Department of Drama and Dance, where he is Full Professor and served fourteen years as Chair between 1995 and 2009. He hails from Minnesota and came to Colorado College after receiving his B.A. from the University of Wisconsin (1979), his M.A. from the University of Minnesota (1982), and his Ph.D. from Stanford University in Drama and Humanities (1989). His academic mentors have included Martin Esslin, Charles Lyons, Eleanor Prosser, and H. Wesley Balk. Since 1982, Professor Lindblade has been an active theatre professional in the San Francisco Bay Area, directing, musical directing, conducting, and dramaturging over forty productions for TheatreWorks, the Magic Theatre, San Jose Repertory Theatre, Solo Mio Festival (Climate Theatre), and the California Shakespeare Festival. His most recent productions in California are TheatreWorks’ Makeover (director, world premiere), Smoky Joe’s Café (musical director), Floyd Collins (musical director/conductor), and You Can’t Take It With You (director) and California Shakespeare Festival’s The Tempest (composer). He has also worked nationally with Goodspeed Opera House, the Guthrie Theatre, the Chicago Humanities Festival, and the San Diego Arts Festival at the Dell. Professor Lindblade writes extensively on contemporary performance, publishing articles (Comparative Drama, New Art Examiner) on subjects as varied as John Jesurun, George Coates, Robert Wilson, and David Saunders. He is a contributor to the anthologies Apocalypse Then and Now (subject: Thornton Wilder), Brecht and Galileo (DCTC Video Library, subject: Brecht’s music), and The Semiotic Bridge (subject: Robert Wilson), and translated Peter Szondi’s seminal essay ‘Ibsen’ for Ibsen: Critical Essays. His book Tactical Measures: The Interaction of Drama and Music establishes a cross-artistic critical vocabulary with which to discuss Shakespeare and Wellmer, Brecht and Adorno, Beckett and Schopenhauer, and Wilson and Pavis. Professor Lindblade is a member of the American Society for Aesthetics, the American Society for Theatre Research, the Association for Theatre in Higher Education, and the International Theatre Institute. He has also served as the NEH Academic Advisor for the Arena Stage in Washington DC and as an NEA Site Evaluator, respectively. Prof. Lindblade’s current projects include ongoing stage direction of Ofer Ben-Amots’ chamber opera The Dybbuk: Between Two Worlds (premiere in January 2008 at Montreal’s Segal Centre for the Arts), a new collaboration with Ben-Amots based on Borges’ The Gospel According to Mark, and monographs on the staging of Philip Glass’ operas and the history of George Coates Performance Works, respectively.

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Now happily retired in Elliston, Virginia and Palm Springs, California.

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Born and brought up in Great Britain. Trained as an actor at the Central School of Speech & Drama, London. Was then an actor for 9 years doing seasons of regional theatre plus TV and radio work.

In 1972 he co-founded the EMMA Theatre Company, a pioneering regional small-scale theatre company taking theatre to villages and small communities far from conventional theatre centres and was Artistic Director of the company 1974-81. From 1981-85 he was Artistic Director of the Torch Theatre, the regional repertory theatre for West Wales, then Artistic Director of Harrogate Theatre, Yorkshire from 1985-97 and Artistic Director of the Wolsey Theatre, Ipswich 1997-99. All British regional repertory theatres.

He has directed over 200 professional productions from Shakespeare to Pinter including European premieres of Paula Vogel’s The Baltimore Waltz and Hot ‘n’ Throbbing, Jose Rivera’s Marisol, the musical of Arthur Kopit’s Wings, all 3 David Mamet Chekhov adaptations and Adrian Mitchell’s adaptation of A Child’s Christmas in Wales by Dylan Thomas; world premieres of Lulu adapted by Angela Carter from Wedekind and several new plays by British writers; the British premiere of Nora by Ibsen adapted by Ingmar Bergman; and British regional premieres of Oleanna, The Secret Rapture, Serious Money, and My Children! My Africa!

In addition to a national British reputation for new American work, his productions of the classics, from Shakespeare to Coward, were equally renowned for exciting, adventurous innovation.

He has adapted and directed The Inspector General, The Miser, The Servant of Two Masters, The Marriage of Figaro, The Barber of Seville, A Christmas Carol, The Turn of The Screw, Scapin and written and directed 7 pantomimes, 2 childrens’ plays and 3 documentaries.

He has designed 5 major regional theatre productions and been guest lecturer in directing and acting at the Guildhall School of Music and Drama, London; the Bristol Old Vic Theatre School; the Actors Centre and the University College of Ripon and St.John, York where he is an Honorary Fellow. He has directed The Importance of Being Earnest at the Habimah National Theatre of Israel and received numerous awards and bursaries.

He was Head of the MFA Acting Program at Ohio University from 1999 to 2003 and since 20003 has been Associate Professor, Acting and Performance Studies at Colorado College.

Productions at Colorado College have focused on site specific work and a continuing exploration of the performance possibilities of the work of Samuel Beckett including Beckett Rooms – a devised exploration of Samuel Beckett’s shorter work performed in a large attic of a College building and involving 28 actors, 10 plays and 8 installations; in the new Cornerstone Arts Centre, a promenade production of What Where and a live, video and audio self devised program of Beckett plays and work inspired by Beckett entitled Fail Better 1 also all over the new building with 32 students; and a production of Catastrophe. Other productions include Absurd Plus – a devised exploration of absurdist drama old and new in a loading dock of the deserted Gas Utilities building, downtown Colorado Springs; site specific productions of Bash and Autobahn by Neil LaBute, a triple site specific bill of Shepard & Chaikin’s Tongues, Savage/Love and Angel’s Monologue; Attempts on Her Life by Martin Crimp – all over the Gas Utilities building; Drinking In America by Eric Bogosian; Antigone by Sophocles and more! His own adaptation of Marguerite Duras’ Malady of Death has recently been produced in Chicago. His recent adaptation and production of Moliere’s Scapin as Scapina! opened the new Cornerstone Arts Centre.

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Debra has been teaching and performing in Colorado for over thirty years. She has a B.A. with honors in Dance from York University in Toronto, Ontario and an A.A. from Stephens College in Columbia, Missouri. She has been a principal dancer with the Jackson Ballet, Colorado Ballet, David Taylor Dance Theatre, and other local companies around the state. She has been teaching all levels of ballet at Colorado College since 1990 and has taught two intensive block courses setting the 2nd Act of “Swan Lake” and “Paquita” on her advanced students. In addition to her teaching at CC, she is the Ballet Mistress and a company member of the Ormao Contemporary Dance Company here in Colorado Springs. She also teaches at the Boulder Ballet School, Denver School of the Arts, and Littleton Dance Academy. Debra is fortunate to have studied with some of the best teachers in the world, including Antony Tudor, Enrique Martinez, Milenko Banovic, James Clouser, Marjorie Tallchief, and George Skibine to name a few. She has studied from master teachers in the Bournonville, Vagonova, Cecchetti, and Royal Academy of Dance’s syllabus’. She travels every summer to Taos, New Mexico to study the Balanchine technique and repertory with Jillana, a former principal with the New York City Ballet.

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