Thinking Together: The Extended Community of the FTA Clinics

A coordinator for the research and creation networks Tubo de Ensayo (2006-2012) and Laboratorio Escénico de Experimentación Social (2012-2020) in Havana, she divided her practice between teaching (University of Arts of Cuba and the Escuela Internacional de Cine y Televisión) and publishing (editor-in-chief of Tablas, the only Cuban journal devoted to the performing arts).

Since her arrival in Montreal, she has taken part in the FTA Clinics (2019-2020) and worked as an associate dramaturge with LA SERRE – arts vivants (2019-2020). As a dramaturge, she has also contributed to a number of documentary theatre creations (Granma. Trombones de La Havane by Rimini Protokoll, I love Madrid and BaqueStriBois by Osikan) and is interested in the multiple ways that reality and fiction intersect.

She serves on the editorial committee of the journal Liberté, for which she is in charge of performing arts criticism.

After obtaining her doctorate in literature, performing arts and screen (University Laval – Paris III Sorbonne Nouvelle) she joined the teaching staff of the l’École Supérieure de théâtre de l’UQÀM. In this context, she gives several courses and seminars in addition to directing research and expanding the ranks of PRINT, a research collective on contemporary interartistic practices.

Her time at the Centre des Auteurs Dramatiques (CEAD) as a dramaturgical and artistic advisor, her regular participation in the dramaturgic clinics of the Festival TransAmériques (FTA), as well as the independent collaborations she maintains with several performing artists, contribute to forging her practice as a playwright.

After a short period as an educational assistant at the Royal Flemish Opera, she works for a few seasons as production and tour manager for TG Stan and les ballets C de la B. In 2009, she becomes Alain Platel’s artistic assistant for his creations Out of Context – for Pina and C(H)OEURS.

In 2012, she joins the artistic direction of De Grote Post, a new cultural center in Ostend. At the same time, she works as a dramaturg on various creations for Serge Aimé Coulibaly, Bára Sigfúsdóttir, Lisi Estaras, Naïf Production, Lola Bogaert, Kristien De Proost and Louise Vanneste.

In 2017, she adds yet another layer to her work: she initiates the ongoing multidisciplinary in situ research project When I Look at a Strawberry, I Think of a Tongue, a collaboration with Lisi Estaras, Mirko Banovic, Kristien De Proost and various guest artists.

Since 2018, she has been sharing her dramaturgical practice. She works with Serge Aimé Coulibaly within his research platform ANKATA in Bobo Dioulasso. She is associated dramaturge with La Bellone. She coaches and judges within PXL-Music and is a dramaturgy professor at Toneelacademie Maastricht.

When evolutions within De Grote Post lead to a fallout of the dramaturgical practice within the institution in 2021, Vanderieck focusses further on her artistic and reflective practice as an independent dramaturg.

She has, since 1998, created “unidentified dancing objects” and has regularly overseen the artistic direction of projects for La 2e Porte à Gauche since 2007 (Blind date ; le pARTy ; Danse à 10 ; Rendez-vous à l’hôtel ; Pluton, ATTABLER). She collaborates as dramaturge with different choreographers (Frédérick Gravel, Marie Béland, Milan Gervais, Nicolas Cantin, Karine Ledoyen…) and for the physical theatre company Chaliwaté (Belgium).

She completed the doctoral program in the study and practice of the arts at UQAM, teaches dance aesthetics, and writes for various journals (Jeu, Esse, Apparté, Canadian Theater Review…). She was dance curator for 7 years at the offta Festival. She wrote a book about Josephine Baker and contributed to books on the company Danse-Cité and about FTA. She created with Sophie Corriveau the event (Not) All of us are Dancers.