 |
"My process usually starts with finding a scrap from the pages of history. While researching the subject I ask myself a series of questions: ÒWhy do I have to tell this story? Why not someone else? Where am I in this story? How could this be my autobiography?Ó I am interested in the relationship of the solitary individual to the larger social and geopolitical sphere. What IÕm looking for is a doorway into all this history weÕve accumulated."
Writer, director, choreographer, actor, designer, puppet/object maker and
puppeteer Dan Hurlin wants to Òput things into the world that werenÕt there
before.Ó Whether heÕs investigating the birth of the Dionne Quintuplets,
the 1859 unveiling of Frederic Edwin ChurchÕs painting ÒThe Heart of the
Andes,Ó or New York CityÕs first recorded murder (in the 19th century),
or his own gay boyhood in New Hampshire, Hurlin mines historical content
as metaphor for personal experience. In both the solo and group work, he
scrutinizes the different ways we see (or donÕt see) the world. Hiroshima
Maiden, an evening-length piece is as much about looking and being
looked at as it is about the young women, disfigured by the nuclear blast
in 1945, who came to visit to New York. Co-mingling ÒurbanÓ and ÒruralÓ
sensibilities and drawing on post-war Americana, Hurlin fashions intimate,
intensely visual theatre (even when heÕs playing sixty characters himself).
Film informs his puppetry with shifts in point of view, jump cuts and cross
fades; objects are archetypal distillations; movement and gesture are his
sine qua non. |
| 
|
|
 |
| 2004 |
Hiroshima Maiden
premiered at Arts at St. AnnÕs, Brooklyn, NY and tours internationally |
| 2001 |
Everyday Uses for Sight: Nos. 3 &
7 premiered at the Kitchen, New York, during the Jim Henson International
Festival of Puppet Theater and tours internationally (Bessie Award) |
| 2000 |
The Heart of the Andes (Everyday Uses for
Sight: No. 3) performed at Mass MoCA, North Adams, MA, and The Kitchen,
New York /td> |
| 1998 |
The Shoulder premiered
at Dance Theater Workshop, New York, toured nationally (American Theater
Wing Design Award nomination) |
| 1995 |
The Day The Ketchup Turned Blue from
the short story by John C. Russell, premiered at The Clockworks for Experimental
Puppetry, New York, continues to tour nationally |
| 1995 |
NO(thing so powerful as) TRUTH premiered
at Dance Theater Workshop, New York, toured nationally |
| 1992 |
Quintland premiered at Dance Theater
Workshop, New York, toured nationally (Bessie Award to Donna Denis for design)
|
| 1991 |
Constance and Ferdinand created with
choreographer Victoria Marks, premiered at PS 122, New York |
| 1990 |
A Cool Million from the novel by Nathanael
West, premiered at Dance Theater Workshop, New York, toured internationally
(Obie Award) |
| 1989 |
Archaeology premiered at Home for
Contemporary Theatre and Art, New York, toured nationally |
| 1988 |
The Jazz Section created with composer
Dan Froot, premiered at PS 122, New York |
| 1987 |
The New Hampshire Duets premiered
at J.A.M., New York (Bessie Award to Mary Shultz for performance) |
| 1986 |
Poison duet with performance artist
Jeannie Hutchins premiered at PS 122, New York |
| 1985 |
The Hunchback of Notre Dame duet with
playwright/performer George Sand, premiered at J.A.M., New York, toured
nationally |
|
 |
| 2003 |
Creative Capital Foundation Project Grant |
| 2003 |
Rockefeller Map Grant
|
| 2003 |
National Endowment for the Arts Project support |
| 2003 |
MacDowell Colony Fellowship |
| 2002 |
John Simon Guggenheim Memorial Foundation Fellowship |
| 2002 |
TCG theater residency grant at Arts at St. AnnÕs |
| 2001 |
New York Dance and Performance award (Bessie
Award) for Everyday Uses for Sight No. 7: The Heart of the Andes |
| 1999-00 |
New York Foundation for the Arts Individual Artist Fellowship in Performance Art/Multidisciplinary work |
| 1994-95 |
National Endowment for the Arts Solo Performance Fellowship |
| 1990 |
Special Village Voice Obie Award for
A Cool Million |
| 1990, 92, 97 |
New Hampshire State Council Individual Artist Fellowship |
| 1989, 90, 94 |
New Forms Regional Initiative Fellowship from New England Foundation for the Arts |
