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Bridget Fiske
Bridget is a multi-faceted Artist with a 25-year portfolio career of work in the UK, Australia, and wider internationally.
A large breadth of experiences has empowered Bridget to develop a range of interrelated practices that inform the ways that she creates, leads, collaborates, and serves.
From an in-depth and rigorous foundation in Choreography, Dance, and Movement, Bridget works as a: Director, Choreographic Artist, Writer, Video Artist, Movement Director, Creative Consultant, Performer, Collaborator, Facilitator, Curator, and Producer.
Bridget's responsive practices and work expand to working in and with Theatre, Dance, Film, Digital Technologies, Visual Design, and Sound and Music.
Bridget's practices engage closely with people and organisations to generate strategies for empowerment and change-making that are specific and meaningful to the people, and the environment the work impacts.
As an international artist, and via her dual identity as both an Australian and British citizen, Bridget aims to make meaningful contributions to both countries. Bridget also aim to contribute wider internationally via partnership building and collaborations with artists, communities, change-makers, producers, curators, advocates, and organisations.
Throughout her career, Bridget has worked artistically with Belarus Free Theatre (including on the New York Times listed 'Best Theatre of 2017' and 'Off West End' award winning production 'Burning Doors', 'Trustees' - Malthouse and Melbourne International Festival, 'Counting Sheep: Staging A Revolution, 'Tash Cuisine' and more), BBC Philharmonic Orchestra, Contact Youth Company, Keisha Thompson, Joseph Lau, Company Chameleon, Buzz Dance Theatre, Cheryl Stock on 'Accented Body' (2006 Brisbane International Festival), Zen Zen Zo Physical Theatre, Shane Anthony, Queensland Symphony Orchestra, Tarcisio Teatini-Climaco, Wendy Wallace, Louise Deleur, Rosetta Cook, imitating the dog, Laura Van Tatenhove, Sarah Sayeed (‘Sufi In The City’), Babylon'13 on the feature-length documentary 'Iron Butterflies', and more.
As a self-organising and collaborating artist, Bridget has also created and produced works that have been presented at venues and festivals that includes: The Lowry, The Place and Chisenhale Dance, Rewire International Music Festival, Modernbody Lab, Supercell Festival of Contemporary Dance, Urban Moves International Dance Festival, Mintfest, and Teatro La Fenice.
In development, producing, curation, fundraising, coordination, and administration roles Bridget has worked with Contact, Phluxus2 Dance Collective, Manchester Dance Consortium, NW Dance Artist Led for Artists Network, Vanhulle Dance Theatre, Dance Manchester, Rio Rhythmics Latin Dance Academy, Director/Producer Cheryl Stock on 'Accented Body', and Ausdance QLD.
Bridget also has an extensive portfolio in teaching and mentoring in community, education, prevocational training, and professional contexts, with e.g. 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, Expressions Dance Company (now Australian Dance Collective), and more.
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:
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Core Skills in Coaching for Advisors, Mentors, and Teachers with Guildhall.
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Arts Awards.: Explore, Bronze, and Silver Advisor
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Various years: First Aid at Work (one-day and three-day courses), Senior First Aid, Emergency First Aid. Behaviour Management Training. Safeguarding training.
