After producing/directing THIRST and THE GLORY ENCOUNTER in Hong Kong, I feel an overwhelming sense of gratitude towards my collaborators. I sense that there is a need for more experimental, audience participatory, site-sensitive, movement/theatre work here in this unique city. People here are interested, open, and yearning for something sensual, different, and charged with a vibrant passion. I am devoting myself to a period of space before the next project. I will improvise everyday until I feel I have given myself enough recovery to develop a new piece here in what is quickly becoming one of my favorite cities....
March Performance Group
Using powerful movement and expression, we delve into and challenge death, femininity, sexiness, beauty, dirtiness, ugliness, and exhaustion. We are physically and emotionally invested in creating atmospheres that feel cinematic or ‘other worldly’. The work is brave, innovative, and provocatively edgy. Together we create provocative, site-sensitive performance projects. We make live art experiences.
Tuesday, May 1, 2012
After producing/directing THIRST and THE GLORY ENCOUNTER in Hong Kong, I feel an overwhelming sense of gratitude towards my collaborators. I sense that there is a need for more experimental, audience participatory, site-sensitive, movement/theatre work here in this unique city. People here are interested, open, and yearning for something sensual, different, and charged with a vibrant passion. I am devoting myself to a period of space before the next project. I will improvise everyday until I feel I have given myself enough recovery to develop a new piece here in what is quickly becoming one of my favorite cities....
Sunday, January 22, 2012
6 Additional THIRSTS
Wednesday, January 4, 2012
THIRST
Wednesday, October 26, 2011
what people say about us
Just a few reminders:
“In An Evening of Meat they have put together a stunning concept piece that keeps you firmly on a hook for the entire night.” – Tuppence Magazine, An Evening of Meat, March 2011
“I went to bed in THAT WORLD that night. They took me to a journey... The choreography was challenging and arresting.” - http://okimuk.com/ a beautiful mess, old vic tunnels, August 2010
Thursday, September 29, 2011
Long Distance Relationships: London to ** with Love
I'm also proud to announce we will be working with Experimenta Gallery in Hong Kong for a show on February 14, 2012. Check out their website: http://www.experimenta.hk/blog/
Thursday, September 1, 2011
Live Absence, Recorded Presence
Press Release
How are you watching this? Me? Us? What is happening in your head? What emotion, what memory is this movement stirring in your mind? This performance explores how one perceives live performance and what it really means to be live. This is a physical theatre - dance piece choreographed by Kate March, and her dancers Laura Cherry & Treacle from The March Performance Group. The work has been created through a new question & answer style of multi-media choreography. Kate is working closely with the theme of Live & Life in ** posting videos of her movement online to her dancers in London who create movement directly from Kate's films & send back their filmed movement response. The choreography process & conversation is documented thoroughly due to the nature in which we're working. This enables the work to be more influenced by the thinking process behind the movement itself. The company are pioneering multi-media choreography embracing the technological advancements available to the dance & theatre world.
The group will also be collavorating with fashion designers Rosie Alia and Ziad Ghanem on the night
Tuesday, August 2, 2011
Taipei
Monday, June 6, 2011
Public House Performance and Summer Plans
Friday, March 25, 2011
An Evening of Surprises
Friday, March 4, 2011
March 19th Preparations
The French chef, Michael Rabinovtiz, has offered a delectable French menu including various canapes for the guest tickets (£15); 4 different quiche choices including Quiche Lorraine, Mozzarella/ Oven roasted cherry tomatoes/ & Basil- Asparagus/ Artichoke & Goat Cheese- Chorizzo/ Black Olives & Manchego Cheese, and finally, his acclaimed mouthwatering Beef Bourguignon as a main (£35 or £45 for premiere seating and service). A beautiful dessert is being designed by a guest baker and will dazzle all senses when it is seen and tasted. Wine will be offered throughout the meal. The After Event will be a convivial celebration of march performance group's favourite month: March, of course.
Tuesday, February 22, 2011
Valentines Footage
Monday, February 21, 2011
Bloody Valentines and March Performance
Friday, January 14, 2011
2011- Hair
Friday, December 3, 2010
Furniture and Food!
Tuesday, November 23, 2010
post-rosa
The name rosa comes from sub-rosa which is latin for under the rose. Sub-Rosa refers to secret operations, links to confidentiality between people, and is overall, something occurring without public notice; essentially, underground going-ons. Though the experience on sunday was private it was also public; part of it was in confidence, and part of it was extremely exposed. For this reason, it was not necessarily sub-rosa; it was a rosa event.
We welcomed our guests to the Marble Hill Pub. Hopefully there, they felt warm, invited, included, anticipatory. Perhaps after feeling warm and comfortable they felt slightly restless, wanting to know what to expect and when to expect whatever it was that might happen. After they followed the performers outside to the park space, unexpectedly they formed sidelines like at a football game. They divided themselves, keeping us in the middle. From the photography, it seems people were making choices about where they wanted to stand, move to, and for the most part, they remained alone in their experience of ROSA. On one hand, how the spectators received the 'performance' was utterly individualised and non-demanding. The spectators had the control over where they placed their bodies, how close they chose to get to the performers, and whether they remained in the bleak cold observing aggression, play, animalistic behaviour, or comraderie. Though it may seem demanding for an audience to watch something outside in the cold, it was their choice to stay. It could also be seen as non-demanding in that there were no specific seating or standing placements, people had the choice to control their body's positioning. Interestingly, many children and dogs were very engaged in what was going on; the public paused to see what was happening. Most audience members braved the cold. Going back into the pub, like post-football or rugby game attendees, was a breath of comfort, a resort to warmth....
My experience was mainly positive. I felt like I could really manifest aggression in physical form without holding back; the contract we had between each other and our bodies was special. We knew nothing was personal; it was just an expression of athleticism and force that we don't often get to approach so wildly without holding back much. I felt proud of myself when I remained standing. Though there was a moment at the end when I was lying on the ground face down and felt Laura and Nefeli lying near me. I suddenly felt more non-living than I could have imagined. I really felt like I was in another dimension. In order to break the tension, my body started a fit of laughter; in essence, I was laughing at death.
Following the performance it struck me how morbid the imagery could be seen towards the end. We embraced being physical with the body; we mocked the violence of society; we displayed people bringing other people down (women bringing other women down); we demonstrated instances of force that may have been seen as extreme as rape; and we were footballers anticipating the ruggedness of the experience or the possibility of injury. But we were in black, covered in dirt, and some of us were immobile and relaxed/exhausted to the point of total stillness towards the end. It could have easily been seen as dead bodies. We were at the end, encircled by the audience; human curiousity is strong. The audience's bodies contained us; they contained our life and our death; ultimately, there is an underpinning for people controlling people; people trying to control (unsuccessfully) death.
My fascination with philosophies of life and death, particularly, existentialism in relation to Simone de Beauvoir and other French feminists, suffuses the performance work we do as a group. I could not ask for more courageous, talented, and powerful women to work with. Also, the spectators that came are becoming and growing as a community. In the future, I think we will play with having just two people, or perhaps having many people. What would happen if men were involved? What if we stayed in our dresses and stilettos? There are many future possibilities and more spaces to explore with these expressions of the fight for survival; the fight to remain in a pack; or just an instance of the 'fight' within.
Will post more pictures in the Rosa gallery very soon. Special thanks to Nick Gough, Oz Owen, and Graham Bradley for taking some fantastic photos. And also to Marc Chmielewski for filming the event.
Wednesday, November 17, 2010
Pre-Performance Ruminations
The past rehearsals have been physical and forceful with an underpinning of affectionate play. What has transformed humans into such sophisticated species; what has led to the harnessing of raw human emotions? Sometimes being cosmopolitan, graceful, and a sophisticate is also exhausting in itself. Is there a place where the exhaustion of the physical and the exhaustion of sophistication can collide? Given the chance, I would rip myself out of niceties and grace and choose a state of rawness and athleticism that pushed my body, and hence, myself, out of the duality of power and vulnerability or of being in control and being controlled. Sometimes when we embrace and allow for physical exertion, the need to control is released and body and mind can exist collaboratively. Though I do not support violence, I believe there are moments when physically demonstrating aggression are more productive than withholding; it is productive to push each other physically; to realise our competitive nature physically. Can we exist as poised, elegant, sophisticated and also passionate, messy, unpredictable beings? The space where both exist is the most exciting place to have presence in.
Sunday November 21, 2010 @ 2:30pm. The Lions and Lambs collide
Wednesday, November 10, 2010
Friday, November 5, 2010
Post-Berlin....New Project
Monday, October 25, 2010
Berlin, Here we come...PR links....
- by Jeanne-Salome Rochat
London-based choreographer KATE MARCH is bringing her combination of theatre, culinary arts and social criticism to Berlin for a two-night gig in Wedding. The girls dance on dining-room tables and offer food to the audience sitting around them as a way of examining, deconstructing and endlessly reclaiming a female body’s weird power.
On October 27-28. Details HERE!
Saturday, October 16, 2010
Berlin quickly approaches and other performance dates
Friday, September 10, 2010
Wednesday, August 25, 2010
h.e.e.l.
Tuesday, August 24, 2010
Red Light Night! Success...Pictures to come....
Thursday, August 19, 2010
Monday, August 16, 2010
tunnels preview
Monday, August 2, 2010
on the wrong foot.
Thursday, July 29, 2010
Friday, June 18, 2010
gaining some momentum now...taking a stand with lapstances
Lapdance Series Rehearsal Footage 2
Tuesday, June 15, 2010
Lapdance Series Rehearsal Footage 1
Monday, June 7, 2010
Successful Performance Event! Many Pictures...
I felt overly pleased after the show, and also inspired to continue working with the position and the concept. Please enjoy some of the photography documenting the event. Click on this link or just go to the new May 1st page on the right margin of this blog:
MAY 1st Photos (by Oz Owen and Graham Bradley)
I hope to have a film up shortly.
Please join us in Berlin at Schwelle 7 to perform this piece on OCT 26, 27, 28, 2010. More information to follow....If you are interested in upcoming events please let me know.