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How did you get involved with dance?
Delia: I started dancing when I was 4 years old. I studied ballet until I was 15 and then modern dance for another couple of years after that. But I was more interested in acting. When I was 18 I saw two pieces, on two separate occasions, by contemporary dance companies, Jump Start Dance and Dance Makers. Both of the pieces were very theatrical. I was so inspired by the interdisciplinary potential of the art form that I quit acting for film and TV, and I enrolled in Main Dance place professional training program about a year later.
Daelik: I fell into the world of physical theatre while in University in Toronto, but only became interested in dancing after I met Peter Bingham, the Artistic Director of EDAM, who turned me on to Contact Improvisation. I wanted to be in his company and when I approached him he told me he couldn’t hire me because I wasn’t a dancer. So I became a dancer!
How did you meet?
Delia: Daelik and I met in an amateur dance project spearheaded by Trish Halsey in 1991. We met weekly over quite a few months to rehearse and create a production (which was never performed). Then Daelik enrolled in Main Dance during my second year there. Finally our partnership was cemented while we worked together at EDAM 1997-2000.
How would you describe your current project Time Machine?
Delia: To put it simply, for Time Machine we are exploring contrasts between the young and old - naiveté vs. experience, preparedness vs. spontaneity through the lens of the body - children and adult bodies, but also through the exploration of physical materials. Through our collaboration with fabric sculpture artist/costume designer Natalie Purschwitz we have chosen a selection of objects and fabrics that when put together can evoke either highly aesthetic and abstract design or the playroom floor of a preschool before naptime. Our cast includes eight children aged between 5 and 13.
Isn’t there a saying about never working with children or animals?
Delia: I will retort with another maxim: Rules are meant to be broken.
If you didn’t have a career in dance, what might you be doing?
Delia: Visual art or film.
Daelik: Before dance I thought I wanted to be a writer…no, I think if I weren’t dancing I would build furniture.
What might people be surprised to know about you?
Delia: I come from the planet Voxnar.
Daelik: My paternal grandmother is First Nations (Anishnaabe) Algonquin.
What is your proudest moment to date?
Delia: Perhaps I should tell you that I have an allergy to questions that require a quantitative or qualitative ratio - questions like, ”if you had to rate your pain on a scale of 1-10…” drive me insane. But I want to be nice so… the birth of my son and opening night of plaything.
Daelik: Probably starting MACHiNENOiSY and touring my first show (The Secret Lexicon of Dis/ease) to Berlin.
What is your next project?
Delia & Daelik: Reciprocal Forms, a full-length dance performance with six dancers, two composers and an architect. Reciprocal Forms is a dance structured on transmissions between two directors (us) and two composers, Stephan Smulovitz and Chris Kelly. Reciprocal Forms is about transmission, communication and the undeterminable responses of the other. It seeks to elucidate the myriad weave of voices and interpretations within a creative process and to affirm the audience’s subjective responses as integral to the cycle of artistic communion.
Delia Brett and Daelik are Co-Artistic Directors of Vancouver-based contemporary dance company MACHiNENOiSY and Dance Centre Artists-in-Residence this season. Their latest work Time Machine is presented as part of The Dance Centre’s Global Dance Connections series in partnership with the PuSh Festival February 4-7, 2015, 8pm at Scotiabank Dance Centre in Vancouver.
Photo: Delia Brett and Daelik in MACHiNENOiSY’s Vancouver vs Vancouver. Photo by Ronald Rickus.
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