Bardi Patricia, Oggetto 7

INTERVIEW- PATRICIA BARDI Johanna Godliman Patricia Bardi has toured her solo show in the USA, Britain, France, West Germany, Switzerland, Sweden, India. She has performed in several international and (with British Council sponsorship) in Poland and symposia including the Dartington Dance Festivals of 1979, 1984, and 1983, The International Theatre Critics Symposium, Stockholm in 1981, the autumn con- ference of Project Voice, Cardiff in 1981, Dance Umbrella, London in 1983 and Schahrazad's Inter- national Dance Week in Stockholm. During 1982 Patri- cia travelled to India researching North Indian vocal music, with the sponsorship of the ACGB. This year she has received a GLAA dance award. She trained in New York in modern/postmodern dance forms, ballet, and voice (with Nancy Meehan, Steve Paxton, Trisha Brown, Daniel Nagrin) nd in European experimental theatre forms with Eugenio Barba (Odin Theatre) and Zigmund Molik (Polish Laboratory Theatre). She has practiced body/movement repatterning for the last ten years and was a founder member of the Bonnie Bainbridge Cohen School for Body/Mind Centering in the USA. How did you find the transition from living in New York City when you came to London in 1978? Dancing and the research into the voice and organs were the things I had to offer, and all the references that I had come to encompass in what I was doing in the States were little known or appreciated and not easily transferable ideas in coming to Britain. The release work must have been one link. Yes, that was what made the language I was speaking an understandable one. But I think the form of my performance was much more understood and apprec- iated in the States because my references were coming Pat Bardi. Photo: Sheila Burnett out of American culture. So the transition was a difficult time. Lola Pa Loo Za is how I imagine American street-life, to be- is this the kind of reference you mean? By the time I made Lola I was less naïve about New Dance No. 33 Summer '85 19