Editor’s note: This is part of “Four of a Kind,” a recurring Arts & Culture feature. Each month, four new artists share their takes on the local art scene. In addition to individual online posts, you can find all four features as a single spread in this week’s print edition.
Heather Maloy is an Asheville-based choreographer and the artistic director of Terpsicorps Theatre of Dance.
Xpress: Is there an upcoming dance event happening in Asheville that you’re looking forward to seeing?
It is really exciting that Parsons Dance is coming to the Wortham Center [for the Performing Arts, Friday, Jan. 26, and Saturday, Jan. 27]. I had the opportunity to perform David Parson’s choreography when I was still dancing professionally, and it inspired me as a choreographer, especially his humorous work like “The Envelope.” His dancers are always top-notch, and the movement is tremendously athletic and exciting. David gave me great advice when I was starting Terpsicorps, and I have a lot of gratitude and respect for him and his company.
Outside of dance, what other upcoming local arts happening intrigues you?
I am a big fan of North Carolina Stage Company and [the play] Incident at Our Lady of Perpetual Help [which runs Friday, Feb. 2-Sunday, Feb. 25] looks like it’s going to be great fun. I also think that Drum Tao at Wortham [Tuesday, Feb. 13, and Wednesday, Feb. 14] looks fabulous. I like to find things that I can take my 11-year-old son to, but being the absurdly picky person that I am, they need to be of a really high quality that I can enjoy as well. This looks like the perfect fit.
What current project are you working on that you’re especially excited about?
I am currently working on conceptualizing “Before the Scream,” the premiere for this summer’s Terpsicorps Theatre of Dance performances at Wortham, Thursday, July 25-Saturday, July 27. I was inspired by the fact that every work of art, whether visual or performing, is subject to the interpretation of each individual set of eyes that look upon it. No matter what the artist intends, the true meaning is fluid and subject to the viewer’s unique imagination.
With this in mind, I am taking Edvard Munch’s “The Scream” and doing a series of vignettes that explore what the moments leading up to that instant might look like. I am still choosing which paths I will explore to completion, but the ideas I am playing around with right now range from silly to disturbing to heartbreaking. During each vignette, there will be video projections of Munch’s painting being created around the dancers, ending in the actual painting every time.