Paul Zmolek
Adjunct Faculty
Department of Theatre and Dance
zmolpaul@isu.edu
COURSE MATERIALS
CURRICULUM VITA
DANCE

Stories from the Park
(2014) Ziedondarz Park, Riga, Latvia. As part of the month-long Ziedoņdārza stāsti in the nearby neighborhood Ziedoņdārza park, we worked with students from the Latvian Culture College dance program and one student musician to create "Stories from the Park"  on the benches and lawn near the water fountain. We provided the dancers with stories about the park from past events' brochures and instructed them to each choose 12 words that spoke to them. From these words, each dancer then were given additional choreographic prompts to create phrases of movement.  Additionally, the dancers wrote three verses based in the rhythmic structure of the traditional dainas in Latvian, Russian and/or English. The performance included both movement and spoken word inspired from descriptions of what the park has meant in local residents' lives.  Accompaniment was live electric guitar with manipulated and edited musique concrète electronic score recorded while strolling through the park with recordings of the performers reading their "dainas".

Tombo e Guerreiro
(2013) Idaho State University. Maculelê is the sister art to the African-Brazilian "art of survival" Capoeira.

They Stole a Necklace of 5 Million Pearls
(2011) Idaho State University. This title is a translation of a phrase that appears in Ferdinand Leger’s 1924 silent film, Ballet Mechanique, a DADA montage of machine motion, geometric shapes and sensuous images. George Antheil’s score for three xylophones, four bass drums, and a tam-tam (gong), two "live" pianists, seven or so electric bells, a siren, three airplane propellers, and 16 synchronized player pianos was never realized as originally scored during the composer’s lifetime. In 2001, seventy–seven years after its premiere, the film and music were performed together for the first time. The choreography also quotes the stylized movements of laborers sacrificed to the dystopic industrialized incarnation of Moloch in Fritz Lang’s 1927 science fiction masterpiece, Metropolis.

A Short Ride In a Fast Machine
(2011) Idaho State University, Collaboration with ISU Bands

Landscaping for Privacy
(2010 - restaged) Idaho State University. Inspired by W.S. Burroughs writings and the Cold War/Atomic Age anxieties underlying the idyllic suburban dream portrayed by television’s “Leave it to Beaver”, “Father Knows Best” and “The Donna Reed Show”. Co-directed with Joséphine A. Garibaldi.
Landscaping for Privacy
(2002) Southeast Missouri State University.

Something's Fishy
(2006) Museum of Glass, Tacoma, WA, SiteWorks festival. Choreography was inspired by the site overlooking the Thea Foss Waterway.  Performers brainstormed words associated with water which were then paired with Elements of Movement terms to create source movement material then manipulated by choreographic craft. Processional in background going down handicapped ramp are local artists who responded to our call to create Fish on a Stick sculptures to be included within the work and later displayed in an exhibition at Barefoot Studios. Co-directed with Joséphine A. Garibaldi.

Not Yet Become (duet version)
(2006) Callous Physical Theatre, Tacoma, WA. Inspired by Ernst Bloch’s collected essays, The Utopian Function of Art and Literature

Subcutaneous
(2005) Callous Physical Theatre, Tacoma, WA. A work performed within and reflexive of the art installation Skin which explored physical disability and body image from a phenomenological approach.  Movement was created by assigning dancers specific physical limitations as they performed Laban’s spatial scales. Co-directed with Joséphine A. Garibaldi.

Zaum: Beyond Significance
(2002) Southeast Missouri State University. Inspired by the Zaum poets, Constructivists, Suprematists and Cubo-Futurists of the early Russian Revolution.  Collaborating Composer, Scenic, Costume and Lighting designers were provided with the theme and asked to create their work.  We then created choreography based in Laban’s Scales and Meyerhold’s Biomechanics to fit the already completed music, lighting, scenic, and costume designs. Music by Robert Fruehwald, co-directed with Joséphine A. Garibaldi

virtually At this moment In real time
(1999) Luther College, IA.  Inspired by the music of Raymond Scott, best known from Carl Stahling’s scores for classic Warner Brothers cartoons.  The choreographic process was a stream of consciousness flow of non sequiters somewhat akin to Charles Weidman’s “kinetic pantomime”.

ARTIST STATEMENT
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