Misnomer

Chris Elam, choreographer and artistic director of Misnomer Dance Theater, wants his audience to lean forward in their chairs, and become physically engaged while watching his troupe perform. He wants them to “feel as though they are scientists trying to decode what is happening on the stage.”



The reviews Misnomer receives often describe their performances as “absurd,” “bizarre,” and “weird.” Yet the New York Times voted Misnomer as one of the top ten dance performances in 2006. Misnomer captivates audiences – compelling, amusing and disconcerting.

In 2007 Misnomer performed at the Skirball Center of Performing Arts in New York City and the performance was, well, odd. The music stopped and started in seemingly random places, which begged the question ‘is the audio screwed up?’ As the dancers continued through the pauses in the music it became apparent that the sudden silence, except for the breath of the dancers and the sound of their feet sliding along the stage, was part of the choreography. Hearing the dancers’ labored breathing each time the music cut out forced a certain, unexpected intimacy between the audience and performers. Despite their incredible physical strength it was a reminder of their very human fragility. Fragility and strength, music and silence, human form and animal, forced intimacy and the desire to connect; these are just a few of the conflicts that underlie the nature of Misnomer.

Elam, is passionate about blending dance from different cultures, the manipulated human form and taking on the persona of animals. The result is amusing and, at times, disturbing. Not disturbing in a gruesome way but disturbing in “humans-aren’t-suppose-to-do-that,” kind of way. Modern sideshow freaks often attempt to elicit the same type of reactions as Elam but only the very best can strike with the same precision and frequency of success. Elam has flexibility that would make a rubber band jealous. He fluidly moves in and out of various identifiable and mysterious forms.

Elam sat down with Sundance Channel Online and talked about the vision and philosophy that drives him to choreograph dance that “stands out.” He goes to great lengths to make his dance accessible. He uses Misnomer’s web site to reach his audience, not just with the normal web fare such as press kits and performance dates but with contests. The Remix contest encouraged users to download video of Misnomer’s dance performances and re-edit the video, add graphics and music – art extended to artists to make a new piece. Misnomer and Elam also work directly with other artists. For example, Tronic Studio, a New York City animation house, joined up with Misnomer to do a motion capture experiment. Elam also uses conventional methods to spread the word about dance by teaching classes such as Improbable Partnering and Exceptional Physical Interactions, Balinese-Modern Technique and Trust Through Movement.

Dancers strive to lose their self-consciousness and Misnomer Dance Theater’s seems to have been tossed out long ago. Perhaps it was transferred to their audience, which watches Misnomer’s beautiful transfiguration of shape, balanced on the edge of their seats.



In Chris Elam's Words...

I make dances that examine the ways that people connect with one another, focusing on their improbable interactions and playful and earnest attempts to understand and be understood. I find hope, humor, and absurdity in peoples’ efforts to relate to one another. Whether between adolescent sisters, estranged lovers, animalistic creatures, or abstract being, I devise exchanges that blend theater and dance to try to share something about the ways that people operate.

While my work is primarily for the stage, I am also intrigued by how dance can inform other art forms and vice versa. I have collaborated with a range of artists in multi-media projects, recently including choreographing Bjork's soon-to-be released music video, and by developing choreography using motion-capture technology with Tronic Studios (you can see the process in a documentary piece by Apple Computers on their website). Other collaborations have included composers, robotisics, film directors, and painters.

Upcoming projects in 2008 include a project with film director Joss Whedon (Buffy the Vampire Slayer, Serenity). I am particularly interested in initiating collaborations with directors to create shorts that tap into physical expression within a narrative.

I've also been working to develop online tools that enable me as a choreographer to more directly engage with my audiences. By supplementing the live theater-going experience with online features to provide insight into the process, I hope to create a fun way for people to stay involved with dance when they aren't visiting the theater. I invite you to check out my site & blog to get a sense for these initiatives – I'd love to get your feedback.

Thanks for your interest! I hope to meet you online or at the theater!