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Contributor

George Stamos

Contributor

Known for creating performance that is physically dynamic and witty, Montréal based George Stamos is a versatile artist who has danced with many prominent choreographers and created twenty-seven choreographies thus far in his prolific career across the globe. Articles and reviews written by Stamos have been published online and in print by The Dance Current since 2013. In his formative years, Stamos was a go-go dancer in Toronto, London, Amsterdam and New York City.

George Stamos' Work

Poetic Désir

By George Stamos

Rhodnie Désir, a Montréal-based contemporary dance artist, has embarked on a multi-year, multinational project that investigates the local expressions of a shared African diasporic culture. George Stamos profiles an artist trying to make connections across borders.

 

How to Ride a Tornado

Review of Ravages By George Stamos Ravages

Over the past several years, Québéc City-based choreographer Alan Lake has gained attention locally and nationally for his extraordinary multidisciplinary creations. With his new hour-long quartet Ravages, a surrealistic investigation into bodies encountering natural disaster, Lake brings his work to Montréal’s Place des Arts for the first time and probably not the last.

 

Frolicking through History

Meg Stuart / Damaged Goods By George Stamos Built to Last Festival TransAmériques 2014

Time flies during American choreographer and dancer Meg Stuart’s masterfully crafted two-hour-long Built to Last. It’s a sophisticated piece crossing boundaries between theatre, dance and performance art. Travelling through time as movement aesthetics shift across eras, and swinging between everyday attitudes and extravagant fantasylands where abstract dance sections are executed with precision, but formality dissolves into moments of humour and vulnerability.

 

The Subtlety of Solitude in Solitudes Solo

By George Stamos Solitudes Solo Festival TransAmériques 2014

It’s been said that placing classical music in a performance will bring it instant cultural value. It’s a device often used in dance and performance milieus. However, in contemporary dance it can be a problematic choice, as the work will undoubtedly inherit the cultural context of the classical reference and challenge the contemporaneity of the dance.

 

Newfoundland Rocks – Part Two

Festival of New Dance – Stoker, Barton, Fushell, Solo, Roque and more By George Stamos

More shows reviewed from The Festival of New Dance in St. John’s, Newfoundland.

Studio Now

By George Stamos

Studio Danse Nyata Nyata

 

Beauty remained for just a moment then returned gently to her starting position…

Robyn Orlin / Moving into Dance Mophatong By George Stamos Beauty remained for just a moment then returned gently to her starting position... Festival TransAmériques 2013

From the centuries of oppression that led to apartheid, to Stephen Biko’s slogan “black is beautiful,” South African “beauty” is a complex topic.

 

Knowing Not Knowing

Improvised Choreography in Contemporary Dance By George Stamos

Writer, performer and choreographer George Stamos explores creative approaches that combine set parameters with spontaneous choice.

 

Welcome to the After Party

By George Stamos Pleasure Dome Karine Denault

With her new creation, Pleasure Dome, Karine Denault creates an intimate space to reflect on the idea of pleasure as escapism. Her intention to flip expectations is revealed right from the start.

Alexis O’Hara

In Conversation with George Stamos By George Stamos

Montréal mavericks and good friends, choreographer Stamos and musician/performer O’Hara compare notes on gender, the meaninglessness of the word “transdisciplinary” and Montréal versus Toronto work/lifestyles.

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