Whether bringing a choreographer’s idea to life or performing her own work, Victoria brings her passion and years of experience to the research and creation process as much as to the moment of embodying ideas on stage or for the camera.
HUG pilot performance focuses on the importance of boundaries and conscious touch practices, using movement to spark conversations about connection and safety. It’s a first step toward creating safe spaces—not only in dance but in everyday life—while shedding light on a subject that impacts many of us.
HUG (wt) by Marion Plantey. Performed as part of TNDD Studio Round on Dec 6th, 2024 in Südufer in Freiburg, DE. HUG (wt) pilot performance focuses on the importance of boundaries and conscious touch practices, using movement to spark conversations about connection and safety. It’s a first step toward creating safe spaces—not only in dance but in everyday life—while shedding light on a subject that impacts many of us. Performance: Victoria McConnell & Marion Plantey Choreography & concept: Marion Plantey Music composition: Alex Barth Lopez Thanks to ID-Tanzhaus Frankfurt, E-Werk Freiburg, Tanznetz Freiburg, and Tanznetz Dresden for their invitation and support in developing this project, as well as Auf ins Viertel for shaping the project's visual identity. Thank you to Victoria McConnell and Alex Barth Lopez for their devotion and involvement in the project. Join the Conversation: Stay connected with us for updates on upcoming performances, workshops, and the full "HUG" project documentary. Let's continue the dialogue on intimacy, consent, and trauma-informed practices in the arts. You can follow the development of this project at: https://www.marionplantey.com/ Insta: @4arion @wammadc
HUG (AT) is the latest duet version of Marion Plantey’s larger project which was performed on 07.12.24 at Südufer, Freiburg. The performance explores intimacy and touch through a trauma-sensitive lens in a relaxed performance setting.
HUG - duet version - was performed in Südufer Freiburg as part of the Studio Round program of TanzNetz Freiburg, TanznNetz Dresden and ID Frankfurt. It focuses on the importance of boundaries and conscious touch practices, using movement to spark conversations about connection and safety. It’s a first step toward creating safe spaces—not only in dance but in everyday life—while shedding light on a subject that impacts so many of us.
Concept - Marion Plantey
Choreography - Marion Plantey with Victoria McConnell
Performers - Victoria McConnell, Marion Plantey
Music - Alex Barth Lopez
Photo & Film - Anton Andrienko
With kind support from E-Werk Freiburg, Auf Ins Viertel Frankfurt
A moving dialogue for textiles and bodies, MaterialBody is a performance installation which invites a shift our perception of self and the material objects we encounter everyday.
Excerpted performance of MaterialBody in "Kurzestrecke - 10 Jahre Jubiläum" der TanzART Kirschau. April 27, 2024.
Amoving dialogue for textiles and bodies, MaterialBody is a performance installation which invites a shift our perception of self and the material objects we encounter everyday. Familiar and often literally hautnah (up close, near the skin), how much do we know about the textiles we use? Could the garments we wear become partners in movement? Can elements of sewing become an outline for creating dance?
This project arises from the urge to address textile waste (in relation to broader climate concerns) while working in interdisciplinary ways and the wish to investigate my own histories and responsibilities towards garments and sewing.
Concept, Choreography, Textiles, Performance - Victoria McConnell
Music - Perila
Costume - Victoria McConnell
Installation Assistance - Maciej Peplinski
Performance as dancer and actor in the reworked, new version of Rameau's lost opera Samson. Created by Claus Guth and Raphaël Pichon and performed for the Festival d'Aix-en-Provence in July 2024.
When, in 1733, Voltaire, the most brilliant mind of his day, collaborates with Rameau, its greatest composer, in undertaking an ambitious reform of operatic practice, the result is the biblical opera Samson. But the libretto is condemned and the score lost – possibly reworked here and there in later compositions. Claus Guth and Raphaël Pichon, haunted by this interesting project that had turned into one of the most intriguing failures in operatic history, have tried, not to recreate the letter, but to revive the spirit: to marry a strong, noble libretto with the most eloquent music. Samson is the chosen of God, but his extraordinary strength isolates him as much as it marks him out: a succession of failed love affairs turns him into a destructive force, making this biblical Hercules the first suicidal to be a mass murderer. Supporting Jarrett Ott, Jacquelyn Stucker and Lea Desandre in the principal roles, the Pygmalion chorus and orchestra become important actors in a fresco that is both sublime and astonishingly modern.
An exploration of social norms and connections within an exhibition space around the themes of water, memory and embodiment.
What is the significance of water in our shared human existence? How does water connect us - to the past, present, and future? What memories and experiences might be carried within the water in our bodies, and how do those reflect the cyclical nature of existence?
“Fluid Bodies, Tidal Voices” raises these questions in order to cultivate a deeper sense of unity among all living beings through our relationship with water. Approaches of performance, photography and text illustrate the timeless journey of water and our embodied relation towards it.
WeWater|SpreeVision exhibition, supported by ECOSIA
Performances: 15th and 16th of September 2023
Concept, Photography, Audio: Theresa Maria Forthaus
Creation and Performance: FREYAS connective [ Tamara Bettemir, Veronica Bracaccini, Annekatrin Kiesel, Victoria McConnell, Lucia Reussner, Katharina Scheidtmann ]
A filmic experiment attempting capture traces of my recent fabric and movement explorations.
A experimental film researching layers of recent in-studio fabric and movement explorations.
Mover & Editing - Victoria McConnell
Sound - Sewing Machine, "Let X=X" by Laurie Anderson
I do not own the rights to the music. Used for personal research only.
Unser Körper – er dehnt sich in die Welt, er reckt und streckt sich. Tanz, Film und Musik spielen mit dem Unterschied der Körper. Berührt werden und nicht berührt sein.
FREIRAUM ENSEMBLE & IRINA PAULS zeigen SINNESWÜSTEN - ein Tanzstück von Irina Pauls
Unser Körper – er dehnt sich in die Welt, er reckt und streckt sich.
Er nimmt an Gewicht zu und ab, er berührt. Er modelliert sich, und er spürt. Wieviel haben Körper miteinander zu tun? Im Büro, im Zug, im Schwimmbad, am Laptop und am Handy? Welche Zeichen, welche Signale senden sie aus? Tanz, Film und Musik spielen mit dem Unterschied der Körper. Berührt werden und nicht berührt sein.
Konzept, Inszenierung, Choreographie: Irina Pauls, Künstlerische Leitung: FREIRAUM ENSEMBLE - Arthur Schopa, Tanz: Unita Gay Galiluyo, Victoria McConnell, Arthur Schopa, Film: Gonzalo H. Rodriguez, Musik: Philipp Lack, Bühnenbild/ Kostüm: Julia Stefanovici, Produktionsleitung Köln: Arthur Schopa, Produktionsassistenz: Anna Schopa, Produktionsleitung Leipzig: Theresa Jacobs
Gefördert durch:
NRW LANDESBÜRO FREIE DARSTELLENDE KÜNSTE
Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen
KULTURSTIFTUNG DES FREISTAATS SACHSEN
Kulturamt Stadt Köln
Kulturamt Stadt Leipzig
NEUSTART KULTUR
Die Beauftragte der Bundesregierung für Kultur und Medien
npn – national performance netz
FREIRAUM ENSEMBLE
LOFFT Das Theater
Ev. Kirchengemeinde Köln Niehl Riehl
Ehrenfeldstudios e.V.
Was kann die Maschine? Was kann der Mensch? Uraufführung am 25 Sept 2021 in Hellerau Europäisches Zentrum der Künste im Rahmen des Festivals "Dancing About"/TANZPAKT Dresden.
Was kann die Maschine? Was kann der Mensch? An verschiedene Orte im Raum setzen wir Versuchsanordnungen. Wir befragen, wie die Interaktion zwischen Mensch und Maschine funktioniert. Die Maschine kann grundsätzlich nur einen Ausschnitt der menschlichen Bewegungsmöglichkeiten abbilden. Der Mensch, in ständiger Neuorganisation seines Körpers, erfindet individuelle Übergänge und überraschende Lösungen.
Um das sichtbar zu machen, nutzen wir möglichst unverarbeitete Daten: Welche Informationen können wir erkennen? Welche Daten können verarbeitet werden? Wie nehmen wir sie auf? Was lässt sich übersetzen? Wie funktioniert die Rückkopplung auf Tänzer:innenkörper?
Fünf zeitgenössische Tänzer:innen lassen sich spielerisch auf die verschiedenen Experimente ein und setzen sich dem Feedback der Maschine aus. Sie erproben, was aus diesem Datenaustausch für den zeitgenössischen Tanz produktiv gemacht werden kann. Zur praktischen Anwendung kommen live- und computerverarbeitete Videobilder in Verbindung mit musikalischen Parametern.
Wie in einem Laboratorium durchlaufen die Zuschauenden die einzelnen Stationen und können sich vom Ergebnis überraschen lassen. Das tänzerische Material aus den Anordnungen wird schließlich verdichtet und für die Zuschauenden zu einer künstlerischen Entdeckung.
Uraufführung am 25.09.2021 im Festspielhaus Hellerau im Rahmen des TANZPAKT Dresden Festivals „Dancing About“.
Weitere Aufführungen am 26.09.2021 und am 1.-3.10.2021 im LOFFT-Das Theater in Leipzig.
Team
Inszenierung/Choreografie: Irina Pauls
Rauminstallation/Technisches Bild/Kostüme: Matthias Zielfeld
Musik/Sound: Eric Busch
Zeitgenössische Tänzer:innen: Victoria McConnell, Alina Feske, Marlen Schumann, Eva Thielken, Rodolfo Piazza Pfitscher da Silva
Produktion/Dramaturgie: Theresa Jacobs
Assistenz: Lilian Mosquero
Endings, expectation, time. Passing, standing still or just arrived?
"Playing Dead & Doing Time" weaves and untangles questions of ends and decay, while considering human and non-human viewpoints in the interconnected space between death and time.
A teaser for Victoria’s Contemporary Training. Thanks to all who made this possible.
Thanks to all the participants who joined the class.
For teaching enquiries, contact me through my website or email.
Huge thanks to Giacomo Corvaia for filming and editing and to Thallus for allowing us to use their music.
Giacomo Corvaia - facebook.com/FilmovinG
Thallus - thallus.bandcamp.com
“Gute Energie” Campaign for Yello Strom. 2022
While on the surface Leoš Janáček's DIE SACHE MAKROPULOS is a crime play about a complex inheritance dispute, on a deeper level the opera raises existential questions about eternal life and what price you pay for that dream.
Premiered February 13, 2022 in Staatsoper Unter den Linden.
MUSICAL DIRECTOR Finnegan Downie Dear
DIRECTOR Claus Guth
SET DESIGN Étienne Pluss
COSTUMES Ursula Kudrna
LIGHT Sebastian Alphons
CHOREOGRAPHY Sommer Ulrickson
“Lost” is a matter of perspective.
Created for International Video Solo Dance Competition "Die glorreichen Acht"
Lost is a matter of perspective and maybe it's not always bad. If I know where I am and who I am, who says I'm lost?
"Lost" ist eine Sache der Perspektive -- es muss nicht per se schlimm sein. Auch wenn die Welt mich als "lost" sieht.
Concept & Dance - Victoria McConnell
Camera & Collaboration - Rodolfo Piazza Pfitscher da Silva
Music - "Deleters (Featuring Angus Andrew)" by Holy Fuck
Created for INTERNATIONAL VIDEO SOLO DANCE COMPETITION "Die glorreichen Acht"
Everyone wants to get likes, have their posts shared and enjoy the limelight. But when the light goes out and you're no longer the centre of attention, who are you, exactly?
Schau mich an!
von Joachim Schlömer
Eine Produktion von TANZKOMPLIZEN - Tanz für junges Publikum, 2019
https://tanzkomplizen.de/schau-mich-an/?lang=en
Schau mich an! ist ein Tanzstück über das Leben im Licht und im Dunkeln. Ein Tänzer und eine Tänzerin tanzen wie verrückt, um in den Fokus der Aufmerksamkeit zu gelangen. Sie genießen das Licht – und brauchen manchmal auch Schatten…
Im Licht zu stehen ist schön. Wir werden gesehen! Aber zugleich braucht es dazu viel Energie: Wir müssen liken, posten, filmen – und uns mit Selfies darstellen. Der eine träumt von einem Dasein als Youtube-Star, die andere will Tiktok-Heldin werden. Man ist, was man postet: erfolgreich, schön und gut gelaunt. Aber was, wenn wir gerade nicht so gut drauf sind – wie präsentieren wir uns dann? Wohin mit der Trauer und dem Ärger? Wer sind wir im echten Leben?
Choreografie: Joachim Schloemer
Tanz: Victoria McConnell, Ahmed Soura
Bühne/Kostüme: Anne-Sophie Raemy
Video: Aaike Stuart
Licht: Martin Pilz
Hi all you lonely love birds! This is a recap for our pandemic-love-life inspired show: A Dating Extravaganza.
Berlin-based artists Nathalie Wendt and Victoria McConnell created "The Heroine Show" in 2019 as a live Autobiografictional Erotica Standup program.
Two years and a pandemic later "The Heroine Show" goes online, presenting you their brandnew program: A Dating Extravaganza! Featuring a whole bunch of amazing new characters played by even more amazing artist friends... Let's have some serious fun with this queer and tragicomic f*ckfest of Dating Show!
Featuring: Nathalie Wendt, Victoria McConnell, Lilith Maxion, Annalena Steiner, Cara von Stockert, Andreas Giesser, Lukas Hoffmann
Here it is! The long-awaited moment has arrived -- Episode 1 of the The Dating Extravaganza!
Featuring Nathalie Wendt, Victoria McConnell, Lilith Maxion, Annalena Steiner, Cara von Stockert, Andreas Giesser and Lukas Hoffmann
Endings, expectation, time. Passing, standing still or just arrived?
Without the knowledge of a coming end, there is no sense of time as we know it. Or is it only a matter of perspective? "Playing Dead & Doing Time" weaves and untangles questions of ends and decay, while considering human and non-human viewpoints in the interconnected space between death and time.
After 1 week of studio research and 4 days of development in the theater, the 2nd phase of "Playing Dead & Doing Time" was performed February 27, 2021 with a limited audience
Created & Performed - Ruth Kemna, Rodolfo Piazza Pfitscher da Silva, Victoria McConnell
Concept - Victoria McConnell
Music - Ruth Kemna
Video - Victoria McConnell
Set Design - Ruth Kemna in collaboration with Victoria McConnell & Rodolfo Piazza Pfitscher da Silva
Costume - from the performers
Thanks to L'Estruch "fàbrica de creació de les arts en viu" in Sabadell ES for the residency time, space and technical support.
http://www.theindelible.org/
https://www.ruthkemna.com/
https://www.instagram.com/piazzarodolfo/
A piece made of endings.
How do we know when it's over? When do we end the dance, the film, or the career and what about death, the ultimate ending? Taking a seriously over-the-top look at dying, this movement-theater film deals with expectation and time. Without an end, there is no sense of time as we know it. Or is it only a matter of perspective?
A piece made of endings.
How do we know when it's over? When do we end the dance, the film, or the career and what about death, the ultimate ending? Taking a seriously over-the-top look at dying, this movement-theater film deals with expectation and time. Without an end, there is no sense of time as we know it. Or is it only a matter of perspective? What can rootedness teach us and can plants show us how to wait?
Originally planned for a physical residency and work-in-progress performance in April 2020, out of necessity and reaction to the pandemic situation "Playing Dead & Doing Time" became a movement theater performance translated to film. During the home residency, Victoria and Rodolfo began as collaborating choreographer/performers and evolved into filmmaker/editors. This is the first phase of development and we look forward to working again in the studio in Winter 2020/2021 to deepen the physical research and re-develop this piece for live performance with video elements. Stay tuned!
Concept - Victoria McConnell
Creation, Performance & Camera - Rodolfo Piazza Pfitscher da Silva and Victoria McConnell
Edit - Rodolfo Piazza Pfitscher da Silva
Music - Dmitri Shostakovich, Julie London
Text & Voice - Victoria McConnell
Extra special thanks to ada Studio Berlin & Gabi Beier - www.ada-studio.de
Violetter Schnee I Opera Season 2018/19, 2020, 2024 I Music by Beat Furrer I Text by Händl Klaus based on a work by Vladimir Sorokin, translated by Dorothea Trottenberg.
Musikalische Leitung / Musical Director: Matthias Pintscher
Inszenierung / Director: Claus Guth
Bühnenbild /Set Design: Étienne Pluss
Kostüme / Costumes: Ursula Kudrna
Licht / Light: Olaf Freese
Video: Arian Andiel
Dramaturgie / Dramaturgy: Yvonne Gebauer, Roman Reeger
Die Welt im Ausnahmezustand. Fünf Menschen sind eingeschlossen in einem unaufhörlichen Schneewehen. Die Zeit scheint stillzustehen. Wird das jemals enden? Jacques bleibt inmitten der Gruppe für sich, er bejaht den Schneefall wie das Nichts, dem er sich weiht – indem er Zwiesprache hält mit dem Schnee, einverstanden mit seinem unheimlichen Wirken. Peter und Silvia dagegen sind bedrückt, ängstlich, pessimistisch. Jan und Natascha versuchen, die Übersicht zu behalten, weiterhin zu hoffen und tätig zu bleiben im Glauben an eine neue Zeit. Zusehends schwerer fällt allen die Fähigkeit, sich mitzuteilen. Was da namenlos geschieht, befremdet alle; sie haben keine Sprache dafür. Als eine Fremde erscheint und spricht – Tanja, die wie in einem Bild durch die Landschaft geht – löst sie zunächst Euphorie aus, gefolgt von tiefer Vereinsamung. Wie ein Projektionskörper, als ein Erinnerungsraum wirkt sie; Jacques meint, in ihr seiner verstorbenen Frau zu begegnen – er rührt an die Membran zwischen Leben und Tod. Nichts aber ist stärker als die Sonne. Im violetten Aufleuchten des Schnees erfährt die Gruppe ihre Auslöschung.
A world-renowned sensuality researcher & laugh-lecturer, Kelvin is an expert in Dating, Confidence & the Art of Seduction.
Ever wanted to up your dating game? Wondered where love is? Feel you lack confidence with your objects of affection?
Born out of clashing fashion and clashing with cultural definitions of femininity and masculinity, Kelvin stands between categories. With faithful chair named Bob in tow, Kelvin is in-between. Genderqueer, confident and insecure, full of knowledge and completely inexperienced. All they want is connection. Don’t we all? Kelvin is completely sincere and over-the-top; here to teach you, to sing to you, to show to you everything you need to know about Confidence, Pluto & the Art of Seduction.
HEART CHAMBER [An inquiry about love] by Chaya Czernowin
World premiere on 15 November 2019 at Deutsche Oper Berlin
Composition and text: Chaya Czernowin; Conductor: Johannes Kalitzke; Director: Claus Guth; Set design, Costume design: Christian Schmidt; Light design: Urs Schönebaum; Video design: rocafilm; Live-Electronic Realisation: SWR Experimentalstudio; Dramaturgy: Yvonne Gebauer; Dorothea Hartmann
With Patrizia Ciofi, Noa Frenkel, Dietrich Henschel, Terry Wey, Robyn Allegra Parton, Micaëla Oeste, Jana Miller, Rachel Fenlon, Verena Usemannm, Anna-Louise Costello, Verena Tönjes, Jennifer Hughes, Hans-Dieter Gillessen, Lawrence Halkswoth, Wagner Moreira, Martin Fehr, Philipp Schreyer, Christoph Brunner, Simon Robinson, Andrew Munn, Frauke Aulbert, Uli Fussenegger, Ensemble Nikel and orchestra and dancers ensemble of Deutsche Oper Berlin.
Premiered - ada Studio, Berlin 2018
Music by Joshua Tennent.
Movement by Victoria McConnell.
Concept created and performed together.
a dance between understanding and misinterpretation in 3 phases.
a dance between understanding and misinterpretation in 3 phases.
2017 - Solo Work
Premiered at "10x6" in ada Studio, Berlin
Creation & Performance - Victoria McConnell
Music - The Books
2018 - Duet
Performed at TanzArt e.V, Kirschau
Performers - Rodolfo Piazza Pfitscher da Silva, Victoria McConnell
Music - Adriano Fontana, The Books
2019 - Trio
Performed at Tanzzentrale der Region Nürnberg e.V, Fürth
Performers - Giovanna Paiano, Rodolfo Piazza Pfitscher da Silva, Victoria McConnell
Music - Adriano Fontana
The daughter of the powerful spirit ruler Keikobad was hunted by the emperor when she had taken on the form of a gazelle and then became empress by marrying him. Now, to prevent the emperor from being turned to stone, she must cast a shadow, symbolized by being able to bear a child. In the human world, she tries to buy the shadow of a childless dyer’s wife. But when she realises that she can only buy her luck through this couple’s misfortune, she decides to relinquish her wish.
Die eifersüchtig behütete Tochter des mächtigen Geisterfürsten Keikobad, wurde einst in Gestalt einer Gazelle vom Kaiser der südlichen Inseln erjagt und ist seitdem als seine Gattin Kaiserin. Um zu verhindern, dass der Kaiser versteinert, muss sie einen Schatten werfen, was in ihrer Welt bedeutet, dass sie die Fähigkeit erlangen muss, ein Kind zu gebären. In der Menschenwelt will sie deshalb der ebenfalls kinderlosen und unzufriedenen Färberin den Schatten abkaufen. Doch als sie erkennt, dass sie ihr Glück nur durch das Unglück des Färberehepaars erkaufen kann, beschließt sie darauf zu verzichten …
Noch während des 1. Weltkriegs schufen Richard Strauss und sein kongenialer Partner Hugo von Hofmannsthal die märchenhaft-phantastische Oper voller Symbole und Metaphern, die sie selbst als ihr Hauptwerk betrachteten. Zweifelsohne gehört die zwischen Weltferne und psychoanalytischem Künstlereifer changierende »Frau ohne Schatten« zu den rätselhaftesten aber auch faszinierendsten Werken des gesamten Opernrepertoires. Mit allen nur denkbaren, in schier unendlichen Farbschattierungen schillernden Klängen breitet Strauss in seinem herausfordernd opulenten Opus noch einmal die gesamte Palette der spätromantischen Orchesterkunst aus und verhandelt Intimstes in bombastischem Großformat.
Zubin Mehta, ein Strauss-Dirigent par excellence, wird diesen musikalischen Zauber gemeinsam mit der Staatskapelle und den Sängern entfalten. Claus Guths vielschichtige und eindrucksvolle, an der Mailänder Scala entstandene sowie bereits am Royal Opera House Covent Garden gezeigte Regiearbeit betont die dunklen Untertöne der Oper und evoziert wirkungsmächtig die Nöte der zwischen zwei repressiven Welten gefangenen Kaiserin. Als FESTTAGE-Premiere ist die Inszenierung nun erstmals in Berlin zu erleben.
MUSIKALISCHE LEITUNG Zubin Mehta
INSZENIERUNG Claus Guth
SZENISCHE EINSTUDIERUNG Julia Burbach
BÜHNENBILD | KOSTÜME Christian Schmidt
LICHT Olaf Winter
VIDEO Andi A. Müller
CHOR Martin Wright
DRAMATURGIE Ronny Dietrich
DER KAISER Burkhard Fritz
DIE KAISERIN Camilla Nylund
DIE AMME Michaela Schuster
DER GEISTERBOTE Roman Trekel
BARAK Wolfgang Koch
BARAKS FRAU Iréne Theorin
EIN HÜTER DER SCHWELLE DES TEMPELS Evelin Novak
ERSCHEINUNG EINES JÜNGLINGS Jun-Sang Han
DIE STIMME DES FALKEN Narine Yeghiyan
DIE STIMME VON OBEN Anja Schlosser
DER BUCKLIGE Karl-Michael Ebner
DER EINÄUGIGE Alfredo Daza
DER EINARMIGE Grigory Shkarupa
DIENERINNEN Sónia Grané | Evelin Novak | Natalia Skrycka
KINDERSTIMMEN Sónia Grané | Evelin Novak | Natalia Skrycka | Anna Charim | Verena Allertz | Konstanze Löwe
DIE STIMMEN DER WÄCHTER DER STADT David Oštrek | Gyula Orendt | Dominic Barberi
TÄNZER
SCHWARZE GAZELLE | KEIKOBAD Paul Lorenger
WEISSE GAZELLE Sarah Grether
FALKE Victoria McConnell
MÄNNER IN SCHWARZ Uri Burger | Floris Dahlgrün | Alexander Fend | Nikos Fragkou | Oren Lazovski
STAATSKAPELLE BERLIN
KINDERCHOR DER STAATSOPER UNTER DEN LINDEN
STAATSOPERNCHOR
FESTTAGE-Premiere am 9. April 2017
Staatsoper im Schiller Theater
Performed in Burgos, ES in May 2017.
Performed in Burgos, ES on May 2, 2017 as part of the tour Coreógrafos del XXI Gran Gala de Creadores de Danza 2017.
Choreography - Sara Angius
Performance - Victoria McConnell & Sara Angius
Created in Seattle as a film and live performance, Arc & Arrow weaves together the screen, dance, and the live music of Julia Massey and the Five Finger Discount to create an atmospheric exploration of opposites intersecting and how that may create a richer whole.
Created in Seattle as a film and live performance, Arc & Arrow weaves together the screen, dance, and the live music of Julia Massey and the Five Finger Discount to create an atmospheric exploration of opposites intersecting and how that may create a richer whole. Through film projections, McConnell immerses the audience in distinct landscapes inhabited by the two dancers who explore these surroundings. As visual imagery layers on the screen, the performance landscape comes to life, and the dancers continue in live performance what the film began on screen.
Concept & Choreography - Victoria McConnell
Film - Brad Curran
Music - Julia Massey and the Five Finger Discount
Dancers - Marissa Quimby, Italy Padilla
Costume - Paris Original
Net//Works explores how systems of physical and personal boundaries create inclusive and exclusive mentalities toward immigration and border crossing.
In Net//Works Canadian choreographer and Seattle resident Tara Dyberg, with sound engineer/composer Jesse French explore how systems of physical and personal boundaries create inclusive and exclusive mentalities toward immigration and border crossing.
Choreography - Tara Dyberg
Music - Jesse French
Dancers - Victoria McConnell, Mariko Nagashima, Tara Dyberg
Videography - Jacob Rosen
Performed in Seattle International Dance Festival, Seattle Washington and Sea/Port Festival in Portland Oregon.
Animate Materials is a performance project for people with or without dance training. This dialogue for movers and materials is a creative process which invites a shift in our self-perception and the textile objects we encounter every day. What do we know about the fabrics we use? Could the garments we wear become partners in movement? Can elements of sewing become an outline for creating dance?
Over 6 weeks, Victoria guided participants through creation and rehearsals while seeking new partnerships with material and clothing and questioning consumer culture. We mapped relations between our bodies, fabric, and garments through somatic exercises, sewing tasks, contemporary improvisation, and dance composition tools.
Through co-creation methods with participants, Victoria shaped a performance which invites people to cherish textiles and the fabric of our own skin, muscle and bones and to imagine material cultures that care for people as well as objects.
Performed — February 17, 2025 in Uferstudios, Berlin
Concept & Choreography — Victoria McConnell in collaboration with the participants
Participants — Svenja Kalz, Olivia Kossobucki, Anya Jasbar, Franziska Brill, Anna Maganakova, Lilith Tiefenbacher, Maja Bechert, Hye Young Sin, Svenja Mangold, Raoul Rochus, Adrian Porikys, Anne Merfort, Marta Porro, Reem Alfahad, Koray G, Farah Boukhoms, Arturo Anaya, Ian Papez
Music — Anya Jasbar, Hye Young Sin, Yosi Horikawa
Photos — Nikos Fragkou
Made possible by Tanzfabrik Berlin