Mallory Catlett

Mallory Catlett

Money from the FCA has been valuable seed money to get all this work started equally I have been writing grants and getting evolution commissions to create[1000/F FUTURE], which is on track for a 2017 premiere. I accept used the funds to pay performers and rent rehearsal space primarily. I am also reserving a portion of the coin for a remount ofThis Was The End at the new Mabou Mines space in the PS 122 Building, where the work was originally developed and from which nosotros took a wall of their studio for the set up. Bringing that piece of compages back into the new building is a particularly exciting prospect and funds from the FCA will brand information technology possible. I hope this allocation of funds illustrates what the FCA has contributed to the by yr, but besides to my time to come. Many things have become possible in the last year... I am forever grateful to the Foundation. It has been such special and particular honor.

- Mallory Catlett, Dec 7, 2015

Biography

Mallory Catlett is a director, dramaturg, and creator of performance beyond disciplines. She works with audiences, ensemble theater companies, performers, composers, musicians, choreographers, visual artists, technicians, designers, and writers both living and dead, in theaters and out of them. These practices reflect an interest in expanding what the theater can contain. On each projection, the people, the bailiwick thing, the objects in the room, and the words spoken, determine the look and experience of the work and its terms of engagement with the audience. Her piece of work often involves the adaptation of works by––William Burroughs, Janet Frame, Doris Lessing, Marcel Proust, Arthur Rimbaud, Margaret Sanger, William Shakespeare, and Andy Warhol––intense collaboration, and uses music in its presentation.

Selected works include Metropolis Council Meeting (2012-2013), a regional experiment in participatory democracy created with Aaron Landsman and Jim Findlay that the audience performs; Beowulf (2010); [Banana Bag & Bodice's musical bar room brawl]; Dread Scott's performance installation and Supreme Court recitation, Dread Scott: Conclusion; This Was The Finish (2012); and her remix of Chekhov'southward Uncle Vanya with Restless, the production visitor she started in 2004 designed to push button the limits of the theatrical cannon and her own authorship.

Catlett'due south piece of work has premiered in New York at Here Arts Centre, Ontological-Hysteric Theater, Performance Space 122, Abrons Art Center, The Chocolate Manufactory, Roulette, and Collapsable Hole. Her works have also been featured and performed at the Ice Manufactory, Scroll Festival at Functioning Infinite 122, Prelude Festival, Image Festival, and the Brooklyn Academy of Music's Side by side Wave Festival. Her works accept toured regionally and internationally to Canada, French republic, the Netherlands, the U.k., Ireland, and Australia.

Prior to receiving her FCA back up, Catlett received a 2011 National Theater Project Grant from the New England Foundation for the Arts for City Council Meeting (2012-2013); a 2014 Obie Honour Special Citation for This Was The Cease (2014); a 2014 New York Trip the light fantastic toe and Performance "Bessie" Award for Visual Design for This Was The End (2014). Catlett has held residencies at the Performing Garage, Abrons Arts Center, Hither Arts Center, Mabou Mines, the Lower Manhattan Cultural Quango, Chashama, and Yaddo.

Catlett received her B.A. from Bard College and her M.F.A. from the School for Gimmicky Arts at Simon Fraser Academy. She is a Co-Artistic Director of Mabou Mines and is the artistic manager of Restless Productions NYC.

Artist Statement

My interest is time and how nosotros alive in information technology. I am puzzled past our insistence on linearity and causality. I think this sets us at odds with the natural world, causes anxiety, and makes us do destructive things. In the theater, I tin reconfigure fourth dimension. I can create performances where the human relationship between time and the destructive impulse is the subject of the work. I am not a storyteller. I prefer to have things apart, to mix mediums, to carve up the narrative from the need to talk, to tell—alive bodies in communication. I want the audience to focus on the need, to feel a lack of linearity, to be aware of the gaps, and the role they play in filling them, and to consider how the story they make reveals who they are. The precariousness of this pursuit keeps me going.

- Dec 2014