- Peridance Contemporary Dance Company
- KnJ Theater
- Theater Rentals
- Upcoming Performances
- Adult Open Class Program
- Daily Schedule
- Workshops
- Video on Demand
- Rates & COVID-19 Policies
- Faculty
- New Students
- Gift Certificates
- Groups
- The School at Peridance
- About
- Faculty
- Summer Classes & Camps
- Training Programs
- Certificate Program
- MOPTOP Universal
- Independent Study Program
(3-month, 6-month, and 12-month) - Peridance Ensemble
- Alumni
- Audition Tour
- International Students
- F-1 Visa Programs
- Intensives
- PCDC Summer Intensive
- Global Summer Dance
- 36 Chambaz of Stylz
- Performance Project
- Resources
- About
- Scholarships
- Rentals
- Artist Residency
- Community Engagement
- COVID-19
- Contact Us
Troy Ogilvie
Improvisation
Biography:
Troy Ogilvie has danced for and collaborated with choreographers - Andrea Miller, Sidra Bell, Zoe Scofield, Gabriel Forestieri, Idan Sharabi, Itzik Galili, Shannon Gillen, Margie Gillis (as a participant in The Legacy Project/Le Projet Heritage), Austin McCormick, Harumi Terayama, Patricia Noworol, and Belinda McGuire; violinist - Liv Heym; theater company - Punchdrunk (in the role of Lady Macbeth, Sleep No More); and director - Peter Sellars (in the role of Mary Magdalene, The Gospel According to the Other Mary). She teaches an improvisation class at Gina Gibney Dance and Peridance and has recently given workshops at Velocity Dance (Seattle), Breaking Ground (New Orleans), New Studio on Broadway (NYU), and The Playground NYC (Gibney Dance). Troy is one of the creative directors for The McKittrick Hotel’s SUPERCINEMA and McKittrick Masquerade parties. Additionally, Troy is a board member of Springboard Danse Montreal as well as a Founding Collaborator & Associate Director of Alexandra Wells’ Movement Invention Project. She was one of Dance Magazine’s 2011 Top 25 to Watch and graduated with a B.F.A. from the Juilliard School in 2007.Class Description:
When gut, heart, and brain are trusted, a dialogue forms between conscious and intuitive physicality. The tension between abstraction and narrative - form and content - adds context to this dialogue. Class physically and mentally prepares dancers and/or actors to contribute to this conversation whether they produce their own work or interpret the work of others. Warm-up begins with meditative form and graduates to rigorous alignment. Blood pumping continues with improvisation techniques and games; both known and unknown. Class finishes with phrase work and related improvisations.