Welcome back, Talissa Bavaresco



Native of Paraná, Brazil and NYC based, Talissa Bavaresco is an Artist and Choreographer with domain under Classical Ballet, Cunningham and Muller Polarity Techniques, as well as the Theater and Commercial world.  She was the first Brazilian to graduate from Joffrey Ballet’s Jazz&Contemporary Program on a four years merit-scholarship.

Talissa is currently an Apprentice with iKADA Contemporary Dance Company, and part of the Scholarship-Apprentice Program at Jennifer Muller/The Works. She has performed with dance companies such as Keigwin+Company, Joffrey Ensemble, Humans Collective, Jazz Ain’t Dead and KR3T’S, and done independent works with Tyler Gilstrap, Gabrielle Lamb, Patrick O’Brien, Manuel Vignoulle, Mark Caserta and more. In 2017-18 Talissa was selected to Workshop with the Merce Cunningham Trust for future projects.

She has also performed live with artist Kimbra at the Park Armory Gala-17’ and was featured in Andrew McMahon in the Wilderness’ ‘So Close’ and Ivan Modoni/Oriion’s ‘Indigo’ music-videos. She performed at PANORAMA Music Festival-2017 with The Windmill Factory and has worked with JoiLynn Moves on concept videos and FlashMobs in partnership with Flash Mob America.

Choreographically, Talissa has presented works at DUMBO Dance Festival, HATCH Presenting Series, Dixon Place’s ‘8 in Show’, The New York Jazz Choreography Project and NACHMO.  www.talissabavaresco.com

Talissa will be performing her first self-choreographed solo at Jennifer Muller/The Works Studio in HATCH on Saturday, 4/14. Click here to purchase tickets!



Artist’s Statement:

Intrigued by working with large casts of dancers, “R(h)ush” is Talissa’s first self-choreographed solo work.

“It is so easy to choreograph on different/multiple vessels, but when you are the dancer and the choreographer and you book the studio space and find yourself alone in a room telling yourself “Ok, create!”, it is terrifying! It almost feels like seeing an animal in a cage at circus; but you are the animal, the tamer and the spectator all together.”
“Choreography to me is like a putting a puzzle together. I invite a group of dancers that I trust and find highly skilled and intelligent, to come into the studio with me. Slowly we start creating the pieces of a puzzle, vignette by vignette, with no strings attached. I eventually realize when we have created enough puzzle pieces and so start putting them together. And this is when it gets fun, because none of us knows the final image on the puzzle, but as we start putting it together, it reveals itself.”

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