Patricia Beaman is an Artist-in-Residence at Wesleyan University, and an Adjunct Professor in Dance History at New York University's Tisch School of the Arts and The New School. She received her B.F.A. in Dance from the University of Michigan and her M.A. in Dance History from the Gallatin School of NYU. As a member of Catherine Turocy’s New York Baroque Dance Company since 1984, she has toured throughout the United States, Mexico, Puerto Rico, and Europe. In addition to numerous dance programs, she has appeared in over fifteen opera-ballets with the company, and as a guest artist with Ars Antiqua, Louis Louis, and Brooklyn Friends Ensemble. Ms. Beaman has choreographed for French historical plays by Moliére, Marivaux, and Beaumarché, as well as Italian Commedia dell’arte. She has been reconstructing and performing theatrical passacailles from 18th century Feuillet-Beauchamp notation, first with Ms. Turocy, and subsequently with independent dance scholars in Europe such as Alan Tjaarda Jones, Ann Jacoby, and Deda Cristina Colonna.
Ms. Beaman’s solo triptych, Goddess, Siren, Monster, which will premiere in Spring of 2009, features her neo-baroque staging of the passacailles of Venus, Armide, and Scylla. The first section, Accumulating Venus, was presented in Avignon, France, and at the Mark Morris Theater in 2007. The second, Armide Undone, was presented in the Soaking Wet Festival in 2008.
In addition to her work in Baroque dance, Ms. Beaman has also choreographed and performed modern dance, and taught contemporary partnering in the United States and Europe. She recently received a Mellon grant to reconstruct choreographer Yvonne Rainer’s Trio A and Chair/Pillow, Postmodern works from the Judson Church era. She is currently researching the juxtaposition of the formulaic similarities between 18th century French theatrical dances and those of analytic Postmodern dance of the 1960s. Her dance articles have appeared in Dance Research Journal, The NY State Encyclopedia of the Arts, and The Book of Knowledge.
History of Dance
Why Dance Matters