DD Dorvillier is a dancer, choreographer, and teacher. Creating performances exclusively in and for New York City since 1989, she began developing her works in other countries in 2009. Her projects have been presented in New York at Danspace Project, The Kitchen, NY Live Arts, and PS 122, and abroad at ImPulsTanz, Kaaitheater, and Rencontres Internationales Chorégraphiques de Seine-St Denis, among others. Her most recent work, Danza Permanente
—a Beethoven string quartet transposed into movement for four dancers, in silence—premiered at STUK in 2012. In 2000, she founded human future dance corps to support her individual work and collaborations. Over the years, she has collaborated with Jennifer Monson, Jennifer Lacey, Zeena Parkins, Yvonne Meier, and Sarah Michelson, among others. Honors include a Creative Capital Award (2013), multiple MAP Fund grants, a Guggenheim Fellowship (2011), and a Foundation for Contemporary Arts grant (2007). For 2014, Danspace Project has commissioned Diary of an Image
, a four-week platform dedicated to her work and practice. In 2015, Extra Shapes
, a new work commissioned by EMPAC, will explore spectatorship and the perceptual and functional differences between movement, sound, and light.
Suppose you just met someone who didn't know your work, what project from the past 10 years would you direct them to as an entry point to you and your work, and why?
DD Dorvillier in conversation with DD Dorvillier in Tuscon, Arizona, 2018:
“Through Nottthing Is Importanttt
(2007) you wanted to get closer to the obvious, yet un-named, conditions at play in dance and choreography, in order to re-examine what dance on a stage could be, and why. The elements were: bodies, light, movement, stillness, time, shape, volume, surface, breath, labor, sound, relationship. As a triptych, things got complicated when you switched mediums and formats—but never at the expense of the autonomy of each of the three sections. You insisted on letting their incompatibilities shine, as content of the work, to let form and perception be the shapers of meaning. You rejected pre-conceptions of what an acceptable proposition for a dance should be. It was about a thinking space for dance, and it was about looking and listening. This is a major through-line in your work, this co-existence and intelligence of looking and listening, and their prickly and mysterious relationship. This spirit, and these questions and ideas remain central to your work today. Would you agree that it's still an interesting entry point to your work?” – “Yes, yes I would."