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Rachel Krische


Rachel Krische
Contact Details
Rachel Krische

Senior Lecturer

School of Film, Music & Performing Arts

0113 81 25997 R.Krische@leedsbeckett.ac.uk

About Rachel Krische

Course Leader and Senior Lecturer, Rachel co-wrote, developed and launched the Dance program in 2011. Previously she spent 20 years as a London-based independent Dance Artist working with over thirty high profile choreographers and performing and teaching extensively and internationally.

Professional Practice
Rachel has had an artistically diverse and eclectic career, collaborating and performing extensively and internationally with the following companies/artists: Adventures in Motion Pictures, Bedlam Dance Company (founder member), Aletta Collins, Victoria Marks and David Dorfman (USA), Kumiko Kimoto (USA), Vincent Dance Theatre, Daniel Belton (New Zealand), Fiona Millward, Karl J Llewyn, Alex Reynolds, Andrea Buckley, Maria La Ribot (Spain), Colin Poole, Crying Out Loud, New Art Club, h2dance, Sue MacLennan, Mark Whitelaw, Ben Wright, Anna Willliams, Akram Khan, Jonathan Lunn, Wendy Houstoun, Matthias Sperling, Oliver Bray, Gary Clarke, Deborah Hay and Siobhan Davies Dance.

Choreographic work includes commissions for Bedlam Dance Company, Krische Wright Company, Edge Dance Company, Two Dancers, Leeds Canvas Cultural Olympiad with The Brothers Quay and collaborative duet work with Oliver Bray and Matthias Sperling. Projects with Matthias included a duet for the 50th birthday celebration of composer George Benjamin at the Queen Elizabeth Hall, South Bank Centre, London. In 2002 she won the Jerwood Choreography Award with Ben Wright. In 2006 she was assistant choreographer to Aletta Collins for a production of Stravinski’s Les Noces with the Berlin Philharmoniker led by Simon Rattle. This involved choreographing 150 non-dancers aged from 7 to 80 years old performing in front of an audience of 3000 each night. In 2007 she was assistant choreographer in re-mounting an original production of the opera Carmen for the Greek National Opera. This was performed in the ancient outdoor amphitheatre, the Herodotus Atticus at the base of the Acropolis in Athens. Movement direction includes plays for the Crucible Theatre in Sheffield and the Edinburgh Festival. She was Rehearsal Director for the following companies: Bare Bones Dance Company (working with Jasmin Vardimon, Akram Khan, Henri Oguike, Yolanda Snaith and David Massingham), Shobana Jeyasingh Dance Company, Henri Oguike Dance Company and Jonathan Lunn.

As a solo artist she has toured the Deborah Hay solo ‘The Swimmer’ to the following key international festivals: Operaestate festival Venice, Dance Umbrella London, Springdance Utrecht, Spring Loaded London, Tanz im August Berlin, NottDance Nottingham, Re:Move Brussels and The Basement Brighton. Solo work also includes collaborations with cellist Anton Lukoszevieze at the following New Music festivals: Soundwaves, Brighton and Kings Place, London.

As an independent artist she taught contemporary dance including technique, improvisation, repertory and creative work internationally to beginners, professionals and vocational institutions. Following a 2-year training program she qualified as a Scaravelli Yoga teacher in 2000. She has taught dance/Yoga to the following professional companies: Ricochet Dance Company, Gilles Jobin Dance Company, La Ribot, The Cholmondeleys, Protein Dance Company, Arc Dance Company, Adventures in Motion Pictures, Edge Dance Company, Siobhan Davies Dance Company, Scottish Dance Theatre, Shobana Jeyasingh Dance Company, Heri Oguike Dance Company, Phoenix Dance Theatre, Jonathan Lunn Dance Company, Dance UK and was a regular teacher for professional open class in London at Greenwich Dance Agency, Independent Dance and Artist Development at The Place. She has travelled to Russia, Azerbijan and Bangladesh for the British Council teaching professional dance residencies. She has also regularly taught at the OperaEstate international festival in Italy. She has worked extensively with youth and community projects including several CAT schemes and also with Youth Dance England rehearsing, directing and stage-managing over 700 young dancers for their gala performances at the Birmingham Hippodrome in 2005 and Peacock Theatre/Purcell Room London in 2008.

Current performance work (2014-16) includes: ‘Table of Contents’, (co-authored) with Siobhan Davies, Charlie Morrissey, Helka Kaski, Andrea Buckley and Matthias Sperling. This is a seven-hour durational gallery installation. She most recently performed with Wendy Houstoun in ‘Stupid Women’ and solo improvisation at the Tetley Gallery in Leeds. Since 2007 her live performance practice has been almost exclusively working with improvisation.

Current Teaching

  • Bodywork 5
  • Critical Contexts 1
  • Making Dance
  • Cultural Perspectives
  • Professional Performance Project
  • Site/Screen
  • Industry Placement
  • Festival – Graduating Choreographic Project
  • Publishing Supervisor
  • MA – Embodied Knowledges

Research Interests

Rachel’s broad research interests stem from her most recent project with Siobhan Davies Dance ‘Table of Contents’. This was a co-authored, seven-hour piece performed in a Gallery setting (ICA London, Tramway Glasgow, Arnolfini Bristol, Kunstbau Munich, Frieze Art Fair London ). The work examined notions of archive, the body as archive, co-authorship and the addressing of a deliberate re-assessment of how dance might meet and connect with its audience. As a researcher and performer she primarily works with improvisation and her favourite performance context is duet work.

Current research interests, stemming from the project Table of Contents, include long held interests in perception, consciousness and trance states studies. Working with movement improvisation, she is interested in beginning to research areas around movement as a faculty of cognition - investigating notions of movement being integral to the mind’s functional ability to understand information, rather than the mind (only) prompting how the body should move in response to information. Therefore she would like to investigate that movement is not an extension of understanding, but intrinsic to the process of understanding in itself. She is also interested in altered states (such as meditative/trance states) in performance and also in ideas around performing a (devised and rehearsed) state of ‘being in process’.

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