November 11, 2020
Our third episode of Season 2 of Hidden Door Live, Remedy for Memory, is curated by Tess Letham.
Remedy for Memory explores fantasy, ritual, love, friendship, memory, healing and romance through a comical and tender narrative. Revealing intimate anecdotes and pushing the boundaries of our own reality.
The show broadcast on Tuesday 24 November.
(Main image credit: Arnaud Beelen)
Tess is an independent dance artist based in Edinburgh, Scotland, working for the last 8 years as a performer, maker and teacher. Her performance work has included productions by Curious Seed, David Zambrano, Shotput, Cultured Mongrel, Anahat Theatre, Alan Greig Dance Theatre, PanicLab, All or Nothing Aerial Dance Theatre and Mairead McClean/The Wapping Project.
Her inaugural show, a self choreographed solo titled How to Survive the Future premiered at Hidden Door Festival 2017, and following was programmed at festivals across the UK, including the Dance Base Fringe 2018.
Her work, with current emphasis in improvisation and physical theatre, utilises the experiences encountered in life to draw upon, constructing obscure and deeply authentic environments, bringing the audience fully into an intriguing theatrical world. Her projects combine her passions for multi-disciplinary theatre, dynamic physicality and integrated live sound/music.
Remedy for Memory is funded by Creative Scotland, supported by The Work Room, Citymoves Dance Agency and Dance Base.
Nerea is a dance artist born in Donostia/San Sebastian, Spain. She is a graduate of the London Contemporary Dance School, Danish National School of Performing Arts and Scottish Dance Theatre. Throughout her career she has worked with Scottish Dance Theatre, Curious Seed and Barrowland Ballet.
She has taught dance alongside curator Tess Letham on several occasions and sees teaching as an important aspect of her dance practice.
Improvisation is the main practice that has shaped Nerea’s way of seeing and creating dance. She has had the opportunity to work with a variety of collaborators who approach this genre from different angles, including Collective Endeavours, Something Smashing and Si Los Martes Fueran Viernes.
Since 2017 she has been studying the methods of flying low, passing through and improvisation with David Zambrano, which have been very influential to her way of developing her practice for performance and teaching.
In 2018 Nerea started to create her own work, including Bisonte bat Bihotz Eriarentzat, supported by the Basque government, and Leiho zikin, zeru garbi, supported by Basque funding institutions
Cleo is a freelance costume designer and maker with a decade of experience working in varied roles within theatrical costume departments.
Cleo describes herself as a hybrid between a technician and designer; equally passionate about the construction process as she is about creative design.
Cleo’s career in theatre started through an interest and training in dance, so she naturally has a particular passion for designing for finance, movement and aerial work. Her design credits include Embrace (Vision Mechanics), In her Shadows (A Blank Canvas) and Paper Memories (Jabuti Theatre). She has also worked on costumes for various productions at the Royal Lyceum Theatre, Edinburgh, Traverse Theatre and Dundee Rep.
Dinah Mullen is a sound designer, composer and theatre maker who specialises in devised, collaborative and community projects. Her passion is creating powerful, beautiful and curious images and worlds, and finding new ways to tell stories with a team or great collaborators.
This passion comes from her eight years as company Sound Designer and Composer with the dance and alternative theatre company PanicLab, where she found joy and magic in collaboration.
Dinah has been working in theatre sound since 2003 following training in classical music and a BA in Sound and Image Design at Rose Bruford. Her career has seen her work with Oxford Samuel Beckett Award winners mars.tarrab on their show Roller and director Neil Bartlett on two shows, Stella and The Plague. She continues to work with the Theatre Royal Bath and their Young Company, signing and mentoring on many of their productions.
Outside of theatre, Dinah has worked on short films, sound walk, DJ for Baby Raves and music for hypnotherapists. She also designed 24 hours of sound for an installation at Burning Man Festival and was the lead sound designer for an app-based audio tour of London.
Twitter: MistyMullen / Insta: mistymullen / FB: dinahsounddesigner / soundcloud: mistymullen
Emma is a dancer, theatre maker, collaborator, facilitator, movement director, trainee intimacy coordinator, choreographer, advocate, micro-activist and occasional drag king. She asks questions and is obsessed with asking better questions. You can usually find her in the sea, drinking tea or dancing in sweaty clubs – often whilst simultaneously scrolling Twitter. Her work always begins in the body and in choreographic thinking but manifests in a variety of ways; included but not limited to creating performance, curating shared spaces for dialogue, writing, visual note taking and walking.
From creating dance with rural communities to working in ‘established’ mid-scale theatres, her politics always underline her practice with a focus on narrowing the gap between ideology and actions, questioning inherited working structures and developing shareable approaches. Since 2018 her research has concentrated upon failure from both individual and societal perspectives.
Emma will be an essential part of Remedy for Memory, presenting the live show on 24 November and facilitating the audience’s experience of Tess Letham’s work.