With roots in Australian Dance Theatre, Sydney Dance Company and Chunky Move, and most recently choreographing works for the New Zealand School of Dance, Transit Dance and Footnote New Zealand Dance, Lauren Langlois boasts an already impressive dance career. Ahead of debuting her new work Creeper as part of this year’s New Breed, we had a chat.
As an emerging maker, what I find most intoxicating at this stage of my career is creating a distinct and unusual movement language that is textural, rhythmical, sensorial and precise.
Yes, absolutely. Music, movement and lighting all play a huge role in my work. All three elements work together to create a world that the audience can dream themselves into. In terms of the process, collaborating with the sound composer whilst making the work is really important to me because it allows me to build a world from scratch.
A visceral movement language that toys with the grotesque and the beautiful.
I’m extremely grateful to have had so many wonderful highlights over the past 12 years of my professional career here in Australia. One of the most exciting things on the horizon for me would be my imminent move to Brussels next year to join Belgium-based dance theatre company Peeping Tom. I will be performing in their work Diptych/Triptych from May 2020-2022 as it tours around the world!
Jason Wright will be composing the sound for my work, so I have mostly been listening to his incredible music in preparation for New Breed! I have many books, but the ones I have read most recently and am still reading are Overstory (Richard Powers), The Bone Clocks (David Mitchell) and Brave New World (Aldous Huxley).
I’ve been lucky enough to have worked with some of Australia’s top companies and choreographers over the course of my dance career. I’ve enjoyed the diversity of different practices and styles and I think somehow that will filter into my work. But at this stage my practice is very instinctual, so maybe in 10 years I can clearly articulate who and what has influenced me!