Join artists, thinkers and curators to explore an aspect of their practice in a lunch-hour. Visiting speakers shape the form of their talk, so you can expect anything from in-depth discussion to a live performance.
Vincent Dance Theatre (VDT) makes crucial performance for the critical times in which we live. Artistic Director / Choreographer Charlotte Vincent and her intergenerational ensemble create ‘astonishingly original’ (New York Times) dance theatre productions, collaborating across gender, generation, racial and social class to create thought-provoking political theatre, unique in form and aesthetic. VDT’s work is distributed on stage, on film and online, placing productions at the heart of public debate. Integrating young non-professional performers into professional touring productions interrogates who we are and how we live, and aims to empower everyone involved.
Vincent is committed to raising the profile of female-led arts practice in the UK and her distinctive voice acts as a mentor, teacher, facilitator, writer, provocateur and catalyst for critical debate and social change. She is often invited to talk on panels and at conferences about gender inequality in the arts and remains a passionate and outspoken advocate for equal opportunity both on and off the stage.
Vincent choreographs for other companies and artists, and regularly teaches choreography, devising and composition at BA and MA level. She leads rigorous, transformative Practice Labs across the UK and facilitates a range of Engagement Projects. Vincent also works as an outside eye, director and facilitator, for example supporting the research phase in 2013 of Sue MacLaine’s startling production Can I Start Again, Please (Total Theatre Awards for Innovation 2015, Experimentation 2015 and Touring 2016); directing Two Destination Language’s hugely popular Near Gone (Total Theatre Awards for Innovation 2014 and Experimentation 2014) directing Keira Martin’s Here Comes Trouble (touring 2016 & 2017); reworking of Yami ‘Rowdy’ Löfvenburg’s OTHER (2016) and supporting the R&D phase of Rachel Johnson’s Trapped (2017).