Natalie Green is an experimental choreographer and dancer based in Brooklyn. Her work has been presented at Dance Theater Workshop (DTW), The Chocolate Factory Theater, Danspace Project's "Food for Thought", Movement Research at the Judson Church "About Town", Brooklyn Arts Exchange (BAX), Catch, and the Merce Cunningham Studios. She was a 2006 BAX Space Grant recipient, participated in 24x4x4 at Movement Research’s 2008 Spring Festival, held a 2009-2010 Studio Series residency at DTW and was a 2011 Foundation for Contemporary Arts Emergency Grant Recipient. As a dancer she has been greatly honored to dance for Tere O'Connor, RoseAnne Spradlin, Anna Sperber, Levi Gonzalez, Daniel Linehan, Juliette Mapp and Rebecca Lazier among many others. Green graduated from the the SUNY Purchase Dance Conservatory in 2003 and is originally from Austin, TX.
Atmosphere breeds content. I begin making dances by fantasizing. I see images of the performers, adorned and moving. I sense the mood of the piece often before I even start working. Title possibilities come early. Feelings about the tone of the dance come around that same time...colors, costumes, events, textures, sound. I seek to transform the performance space by dreaming up specific lighting ideas and set possibilities. Out of mood comes the movement, out of the movement the internal logic unfolds. I follow this loop over and over again, finding jewels and shedding skins. The dance starts to show itself and I keep wiping the fog from my glasses, trying to see it.
I seek to create opportunities for bravery and boldness in performance. I am attracted to dancers that are vulnerable, generous, and honest, performers who are fiercely embodied and free on stage. I want to invite the audience to a new land, that is ornate and raw and surreal, that operates under its own logic, a world that is dangerous and beautiful and felt.
Dance is a visceral calling that is closely linked to my own relationship to mortality. Dancing honors living, and embodiment, it evokes our past and future selves. It is how I feel alive and connected and awake. The distillation of a single moment, the spreading out and heightened awareness of the now, the merging of multiple truths at once, is what concerns me most as an artist. Because in this expansion, the dancer is most truly themselves, and the least concerned with naming or defining what that is. This is how dance and the dancer transcend language, and time, and narrative.