Soldier Swan
Watching a performer over an extended period of time is akin to listening in on an intimate conversation. Choreographer and solo performer Ros Warby’s conversation begins with two mentors and ends with a swan and a soldier. The latter shimmer and stomp in her award-winning solo piece “Monumental” which makes its South Florida premier Friday and Saturday, April 24 and 25 at the Arsht Center’s Carnival Studio Theater. Co-presented by Miami Light Project and the Arsht, “Monumental,” is the second stop on Warby’s US tour, but it’s not the Australian native’s first Magic City engagement.
Warby performed at the Gusman Center for the Performing Arts in 2003 as a member of Australia’s Lucy Guerin Dance Company. Two years later when MLP presented her at the Miami City Ballet studios, the classically-trained contemporary choreographer felt like she was finally coming into her own as a solo artist: “Up to that point I would make one new solo a year. This was the first time that the influence from Lucy and Deborah [Hay] entered my choreography.” Warby performed for eight years with Guerin’s company and has considered Deborah Hay a mentor since 1998. In her 2005 “Solos” she performed her 20 minute piece “Eve” along with pieces by Guerin and Hay.
Warby speaks with deference (and an air of mystery) about the cross pollination among artists: “The influences creep across to one another surreptitiously,” but she is also quick to clarify in reference to Guerin and Hay: “I didn’t take from their aesthetics, but my experience as a performer of their work deepened and challenged me.”
In particular, Warby refers to their rigor for instruction and movement. Warby’s work is known for its intensity and precision. Another trademark has been her long-time collaborator, multi-media artist, Margie Medlin. In “Monumental,” video footage of seagulls interplays with images of Warby clad in a tutu. In another scene Warby’s militant march is juxtaposed against a giant projection of two bare calves firmly planted like Greek columns.
While the video has been a constant, “Monumental’s” performative presence has evolved since its debut in 2006. Likewise, her vision as an artist has come into its own since her 2003 performance in Guerin’s company: “My work has matured. The performance practice has matured. My ability as a performer and the content of the work has matured.”
Warby now focuses her energy on developing full-length solo pieces. She is also the mother of two children: a six-month and a four year old. Warby cites motherhood for deepening and challenging her experience as an artist. She also refers to the passage of time almost as a collaborator: “The ideas, concepts, and issues that come up in the piece – death, disillusion, destruction, the experience in my own body - reflects these concepts and that adds another layer.”
When presenting organizations like Miami Light Project and Tigertail Productions bring performers back to South Florida’s stages, the audiences have a chance to see cutting edge contemporary dance. The opportunity to look in as they dance past the edge and evolve is fascinating.
Warby performed at the Gusman Center for the Performing Arts in 2003 as a member of Australia’s Lucy Guerin Dance Company. Two years later when MLP presented her at the Miami City Ballet studios, the classically-trained contemporary choreographer felt like she was finally coming into her own as a solo artist: “Up to that point I would make one new solo a year. This was the first time that the influence from Lucy and Deborah [Hay] entered my choreography.” Warby performed for eight years with Guerin’s company and has considered Deborah Hay a mentor since 1998. In her 2005 “Solos” she performed her 20 minute piece “Eve” along with pieces by Guerin and Hay.
Warby speaks with deference (and an air of mystery) about the cross pollination among artists: “The influences creep across to one another surreptitiously,” but she is also quick to clarify in reference to Guerin and Hay: “I didn’t take from their aesthetics, but my experience as a performer of their work deepened and challenged me.”
In particular, Warby refers to their rigor for instruction and movement. Warby’s work is known for its intensity and precision. Another trademark has been her long-time collaborator, multi-media artist, Margie Medlin. In “Monumental,” video footage of seagulls interplays with images of Warby clad in a tutu. In another scene Warby’s militant march is juxtaposed against a giant projection of two bare calves firmly planted like Greek columns.
While the video has been a constant, “Monumental’s” performative presence has evolved since its debut in 2006. Likewise, her vision as an artist has come into its own since her 2003 performance in Guerin’s company: “My work has matured. The performance practice has matured. My ability as a performer and the content of the work has matured.”
Warby now focuses her energy on developing full-length solo pieces. She is also the mother of two children: a six-month and a four year old. Warby cites motherhood for deepening and challenging her experience as an artist. She also refers to the passage of time almost as a collaborator: “The ideas, concepts, and issues that come up in the piece – death, disillusion, destruction, the experience in my own body - reflects these concepts and that adds another layer.”
When presenting organizations like Miami Light Project and Tigertail Productions bring performers back to South Florida’s stages, the audiences have a chance to see cutting edge contemporary dance. The opportunity to look in as they dance past the edge and evolve is fascinating.