478:. The company was commissioned and presented by dozens of venues across the U.S. and in Europe, including On the Boards, Portland Institute for Contemporary Arts, Walker Art Center, Dance Umbrella Austin, Miami Light Project, New York Live Arts, Institute for Contemporary Art/London, Kunstlerhaus Mousonturm, Jacob’s Pillow, Philadelphia Live Arts Festival, Spoleto Festival, Wexner Center for the Arts and many others.
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Guggenheim fellow Dayna Hanson combines repeated motifs—tissues, a slice of cake, a card filled with cash—with bouts of classical and modern dance to explore age, growth, and the seismic event that turned one character into the other. Sometimes it resembles a music video, other times a ballet. Its greatest strength, though, is remaining compelling and illuminating for 30 straight minutes.” Sophie
Gilbert wrote in
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618:, combines narrative with dance and original music by Today! to tell the story of a hard-luck performance troupe in search of an audience. “Often uncomfortably intimate and sometimes vicariously embarrassing, the movie is as good a representation of the dedication and tunnel vision required to make art as any ever filmed.” A fictionalization of the making of
606:, Hanson explained that “it wasn’t like she woke up one day and thought, Yes, it’s time for an artist to respond to this epidemic of people taking guns into public places. But it was the humanity that drew her in. The vulnerability, the weakness, even the banality of what she saw. And then, empathy took hold.”
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is an
American filmmaker, choreographer and multidisciplinary artist based in Seattle, Washington. Hanson’s work, noted for its humanism and originality, has been presented and screened internationally. Hanson is a 2006 Guggenheim Fellow in Choreography. and a 2011 United States Artists Foundation
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Also under the banner of 33 Fainting Spells, Dayna Hanson and Gaelen Hanson produced a dance film festival, New Dance Cinema, in partnership with
Northwest Film Forum, from 1999 - 2005. Screening titles on film that had never been seen in the Pacific Northwest, like Rosas Danst Rosas by Thierry De
513:. A "soft-shoe routine in a hallway,” “Measure” “illustrates the way the camera excels at revealing deep space.” “Measure” screened at New York Film Festival, Seattle International Film Festival and more than 50 other festivals worldwide and is featured on Dance for Camera, Vol. 1, released by
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and
Dendrie Taylor, “Voyeurs,” Episode Six of Season One, received critical acclaim for threading the needle between experimentation and narrative impact. The episode “tells its story not through dialogue but dance. In telling the story of a housekeeper meeting a younger version of herself,
489:, "They cleverly used choreography, both modern and pedestrian movements, as well as text and music in very low-fi, yet tremendously effective ways. 33 has served as a tremendous role model for how artists can live outside of New York and achieve national and international reputations.”
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With Peggy
Piacenza and Dave Proscia, Hanson co-founded a nonprofit art space, Base, in 2016. In response to the growing need for affordable creative space in Seattle, Base offers performance opportunities, low-cost rentals and unrestricted artist residencies with financial support.
559:(NDEs), including video interviews with four NDE survivors. In this work Hanson also assembled a band, Today!, with collaborators Dave Proscia and Marguerite Brown. In 2007 Paul Matthew Moore joined the band, which scored several of Hanson’s later film and live works.
431:. Hanson paused her creative writing and took up choreography instead. “Determined to eschew formal training and the influences of other choreographers, Hanson taught herself to dance, beginning with footwork and slowly graduating to the upper body.”
485:, "33 Fainting Spells has its finger on the cultural zeitgeist as few American dance theater groups do...these women can do just about anything.” On their dissolution in 2006, Lane Czaplinski, former Artistic Director of On the Boards, told
566:, called “a delicious dance-theater exploration of the ironies inherent in the American Revolution” by American Theatre Magazine. Commissioned by On the Boards, the piece featured an original live score by Today! and was presented by
654:, “The entire sequence feels like a mirage, or a dream dance, like the technicolor trip from Singing in the Rain transposed onto seedier surroundings. The episode is beautiful, and also like nothing I’ve seen on television before.
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and Miami Light
Project. In it, the cast of nine “dropped character mid-show for a vital segment in which they ate cherry pie and swapped real-life anecdotes about racism before returning to a freewheeling corporeal romp.
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For their first short dance film, “Measure,” produced by Carlo
Scandiuzzi, the pair adapted a duet Dayna Hanson originally choreographed in the Run/Remain Ensemble then remounted in 33 Fainting Spells’ 2000 piece,
705:. Hanson has worked on several projects by choreographer Heather Kravas. She produced Walking to Werner, a documentary directed by Linas Phillips, who also performed in 33 Fainting Spells’ final piece,
229:
tags using the button below. This will let reviewers know a new draft has been submitted in their area of interest. For instance, if you wrote about a female astronomer, you would want to add the
528:
Hanson’s later short dance films include Entry (with Gaelen Hanson), Diesel Engine, A Moving
Portrait of Me and My Dad, Cold Light Day and Din, which appears on the compilation 13 Chambers.
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33 Fainting Spells received grants and awards for their work from
National Endowment for the Arts, National Dance Project, MAP Fund and Paul G. Allen Family Foundation, among others.
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After creating and performing a series of short pieces in cabaret settings in
Seattle, she co-founded The Run/Remain Ensemble in 1989 with filmmaker/director Gregg Lachow, cellist
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In 1994 she co-founded 33 Fainting Spells with Gaelen Hanson. Between 1994 and 2006, 33 Fainting Spells produced six evening-length dance theater pieces, including
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Shortly after receiving her B.A. in English literature with a concentration in creative writing, Hanson encountered dance and performance work by Maguy Marin,
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As a choreographer, actress, director, consultant and dramaturge, Hanson has worked with artists across disciplines, including filmmakers Lynn Shelton,
661:, a legal thriller on the topic of sexual assault laws produced by Yale Productions and Convoke Media. Released in 2023 by Vertical Entertainment,
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517:. In 2024 Measure was added to an international catalogue of historically significant works in dance film at Tanz digital. Measure was edited by
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420:. While at University of Washington Hanson received the Loren D. Milliman Prize for Short Fiction for her short story, “The Favorite.”
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joined Run/Remain and the group created seven full-length multidisciplinary performances, several of which were presented by
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was created with support from MAP Fund, Mid-Atlantic Arts Foundation and others and was developed and workshopped at
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she combined choreography and hyper-naturalistic theater with original documentary material on the subject of
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Commissioned by On the Boards in 2013, Hanson created The Clay Duke, a multi-media work examining the
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then studied short fiction writing at University of Washington, where she studied with American poet
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and Noorderzon Festival in Groningen, Netherlands before premiering at On the Boards.
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During the company’s third season in New York, dance writer Elizabeth Zimmer wrote in
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1103:"After Spate of Closings, Georgetown Artists' Hub Rises When We Need It the Most"
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New England Foundation for the Arts National Dance Project Production Grant, 2010
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but even that is about her work, not her as an individual. Could possibly meet
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After 33 Fainting Spells’ dissolution, Hanson created a solo performance,
804:"American Revolution as 'multimedia extravaganza'? Count Dayna Hanson in"
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and her brother, Kyle Hanson. Megan Murphy, then a performer with
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In her film work she has collaborated with Benjamin Kasulke and
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Hanson wrote, directed and choreographed an episode of
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United States Artists Oliver Fellowship in Dance, 2011
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