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Bridget Fiske

As a multi-faceted Artist and Creative Bridget has worked as a Director, Choreographic Director, Movement Director, Performer, Collaborator, Curator and Producer, Facilitator and Teacher, Rehearsal Director, and Coach and Mentor.

Portfolio Examples

 

Creating and touring around the world, urgent and award-winning productions with Belarus Free Theatre and its Directors Natalia Kaliada and Nicolai Khalezin as Choreographic, Movement, and Rehearsal Director. This includes 'Burning Doors' (listed in the New York Times 'Best Theatre of 2017' and Winner 'Best Ensemble' Off West End Awards), 'Trash Cuisine' (Winner 2013 Impacto Total Award), 'Red Forest', 'Counting Sheep: Staging A Revolution' (Vault Festival London 2019 headline production), 'London Eyes' (a Young Vic parallel production) and 'Trustees' (Melbourne International Festival and Malthouse).

 

Creating works for festivals and galleries. This has included works for: national and international outdoor dance and street arts festivals, hundreds of community performers as part of a major sports stadium performances, The BBC Philharmonic Orchestra and The Queensland Orchestra, and projects such as 'Stellarium' a major youth performance project for Manchester European City of Science in collaboration with leading British Astrophysicists.

 

Co-Creating and Co-Producing the participatory radio play 'An Absurdist Archive of Isolation: a full body workout radio play' as part of 'They Gather'. The various works in the multi-modal project 'They Gather' have been presented by The Lowry (UK), The Place and Chisenhale Dance's festival 'How Do We Tune Into Sensation'(UK), Rewire (NL), Modern Body Laboratory (NL), and Supercell Festival of Contemporary Dance (AUS).

Director and Movement Director on the research and development of UK writer Keisha Thompson’s new play ‘The Bell Curves' (September to November 2021). https://keishathompson.com/bio/

Creating moving-image and interactive digital works for the screen, online, and public spaces (e.g. Illuminating York). Recent projects include working and collaborating with Ukrainian Film Artist and Director Roman Liubyi on the hybrid documentary 'Iron Butterflies' and the moving image project 'The Correspondents' (Produced by Babylon'13 and Project Auske. Supported by the European Union under the House of Europe).

 

Curating and producing choreographic laboratories such as Manchester Choreolab 2017. 

Working in strategic and arts management via roles such as Dance Development Officer with Dance Manchester and Special Projects Co-ordinator with Rio Rhythmics.

Supporting and facilitating ways for people to develop voice, embodied awareness and creativity, including through the Be SpecACTive! EU commissioned project ‘YES Move. NO Move. (Moved?)’ collaborating with activists, people seeking asylum, people ‘erased’ during Slovenia’s independence, migrant workers and Roma artists and youth across multiple EU countries, and designing the facilitated performance  'The Body of Us' (presented to date at Dance: Sampled 2017 and 2018 at The Lowry, for The Movement a Sadlers Wells, Birmingham Hippodrome and The Lowry partnership, Supercell Festival of Contemporary Dance, UDance North West and University of Salford's 'Watch Us Dance').

Facilitating training, learning, and development through classes, workshops, masterclasses and coaching and mentoring. This includes children and young people, tertiary education students (undergraduate and postgraduate), adults who move for recreation, health, connection, and expression, and emerging and established artists. Teaching and facilitation examples include; The Lowry Centre for Advanced Training, The Aboriginal Centre for Performing Arts, Bangarra Dance Theatre, Roehampton University, The Place Summer House, University of Salford, University of Central Lancashire, HWY Festival La Boite Theatre Company, Dancenorth Australia and more.

In addition to her independent work, Bridget has a creative research and performance portfolio that includes working with/ for, Joseph Lau, imitating the dog, Buzz Dance Theatre (performing and touring works of Paige Gordon, Felicity Bott and Carol Wellman Kelly), 'Accented Body' in Brisbane International Festival (Choreographers Cheryl Stock, Helen Sky and Sarah Rubidge), Tarcisio Teatini-Climaco, Wendy Wallace, Louise Deleur and Rosetta Cook.

 

Working in collaboration with Wahab Shah (Pakistan) as Co-Artistic Director of ‘On The Hour: Dance Kahanyan’ supported through The British Council’s ’New Perspectives’ project. ‘On The Hour: Dance Kahanyan’ interrogates the function of dance in contemporary urban and rural society. It explores culture, practice, and modes of co-creating new narratives with artists, young people, and women’s/girls in Pakistan and the UK. This is done through live dance, films and documentaries shared in live-streamed performances and online.  The project is being delivered by Wahab Shah Dance Company in Pakistan and Inspirate in the UK. https://www.britishcouncil.pk/new-perspectives

 

Background. Education. Training.

 

Bridget was born and grew up on farms and in small towns in rural Northern, Victoria, Australia. Places that are on the ancestral lands of the Dja Dja Wurrung People and Yorta Yorta People. 

 

After training with Jacqueline Kornmann and Susan Eacott, being given opportunities to take on creative and teaching leadership roles in her community, and many trips to Melbourne (Naarm) to extend her skills, Bridget boarded a Greyhound bus in early 1997 and traveled the 24 hours to Brisbane (Meeanjin).

 

Here Bridget completed a Bachelor of Arts (Dance) at Queensland University of Technology. During her second year of studies, Bridget took on an additional unit in ‘Physical Theatre’, where she was introduced to Viewpoints (following the methods of Anne Bogart), the Suzuki Actor Training Methods, and Butoh practices. 

 

In 2001 Bridget returned to full-time studies and completed a Bachelor of Arts (Honours). During this post-graduate year, Bridget completed the practice as research project and thesis "Going Solo At The Disco: one woman’s reflections on being the solo performer in varied choreographic processes". Through this process, Bridget worked with Nik Hills on the solo ‘Holding The Baby’, Cath Childs on the solo ‘For Lease’, and created the solo ‘In Blood’.

Additional Training

 

Current: Core Skills in Coaching for Advisors, Mentors, and Teachers with Guildhall.

 

Arts Awards.: Explore, Bronze, and Silver Advisor

 

Various years: First Aid at Work (one-day and three-day courses), Senior First Aid, Emergency First Aid. Behaviour Management Training.  Safeguarding training.​

www.bridgetfiske.com

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