Troy Ogilvie

Interview Highlights
Q: Using the idea of “worldmaking” how do you imagine the performing arts world after the pandemic? (Worldmaking: How you can re-imagine the world in your own terms, the way you want it to be. Using this tool one can construct new worlds and write themselves into narratives that have excluded them and systems that have disabled them.)
I imagine it’ll be more community-based. It’s interesting because I’m also interested in spiders and webs. We’re all on the web right now. It makes me think of the webs we create. That’s something that’s bothered me about the arts: the elitism, the idea that Lincoln Center is built with its back to the projects. The United States has this history of these big elite institutions on American soil. I hope we find ways to engage other communities more, in ways that are happening on local levels. I did a project with Peter Sellars and the Los Angeles Philharmonic. He’s an artist I look up to in terms of world-making. He makes his work the way he lives his life, and every aspect of his productions reflect his world view. One day, I asked him how we can make the world a better place. He said, “Do something small, like a local production, a school, a theater. Do it for ten years, and do it really well. Then write legislation that reflects what you did on that small scale.” That was really inspiring and feels like a way forward. I think that’s what I mean by community. If you stay in one community and your world gets too small, there’s tension there too, and you can become entrenched and lose your worldliness. We need to renegotiate that balance. Right now, it feels like the world in dance has so much touring and stress, both on us, and on the environment.
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Troy Ogilvie has danced for and collaborated with choreographers - Roy Assaf, Sidra Bell, Antonio Brown, Gabriel Forestieri, Itzik Galili, Shannon Gillen, Margie Gillis, Andrea Miller, Patricia Noworol, Zoe Scofield, Idan Sharabi, and Nicole Wolcott; violinist - Liv Heym; theater company - Punchdrunk (as Lady Macbeth in Sleep No More NYC); and directors - Sophie Bortolussi (McKittrick Masquerade parties), Susan Misner (Bend, FOSSE/VERDON), Kate Douglas (Extinct), and Peter Sellars (The Gospels According to the Other Mary, LA Philharmonic). She has also curated, produced, and performed in solo shows RESET (2011), PRISM (2017 - with producer Ron Black), and BITE (2019). Troy teaches improvisation and is on faculty at SPRINGBOARDX Skills + Process, The Joffrey Jazz & Contemporary Program, Peridance, Adelphi University, and The Performing Arts Project. Troy’s choreography has been performed by the Joffrey Jazz & Contemporary trainees, Rivertown Dance Academy, Bare Opera (Maria de Buenos Aires with director Malena Dayen), and as a part of Met Live Arts (The Ninth Hour: A Beowulf Musical with director Kevin Newbury). She has participated in residency programs at The Marble House Project and Turkey Land Cove Foundation and was one of “Dance Magazine’s 2011 Top 25 to Watch.” Juilliard B.F.A. @troyanosaurus