013: Embodied Expression: Marie-Gabrielle Rotie on Butoh, Choreography & Creativity
“Butoh is a corpse desperately trying to stand upright."
Marie-Gabrielle Rotie
In this episode of the Shapes in Motion podcast, host Stephen Moynihan speaks with choreographer and artist Marie-Gabrielle Rotie about her artistic journey, the discovery of Butoh, and its influence on her work. They explore the origins and philosophy of Butoh, its connection to nature, and the transition from live performance to film. Marie-Gabrielle shares insights into her creative process, the role of assistants in choreography, and her aspirations for future collaborations.
Marie Gabrielle Rotie trained as a Fine Art Painter at Wimbledon School of Art. She has, for 30 years, worked as an artist/choreographer and performer creating work for dance/theatre. She has received support and been funded by Arts Council of England, British Council, Trinity Laban, The Place Theatre, The Royal Opera House and has toured to many international festivals. Marie-Gabrielle has studied Butoh in Europe and Japan since 1993 and is considered the pioneering practitioner expert in the UK and is recognised internationally. She has also organised numerous festivals and workshops for invited international experts through her platform www.butohuk.com
She began her journey into movement direction as Choreographer for The Bacchae by Sir Peter Hall, Royal National Theatre. which premiered on Olivier stage, Royal National Theatre 2002. For many years, Rotie was choreographer and costume design consultant for London College of Fashion staging productions at The Raphael Room in Victoria and Albert Museum, Sadler's Wells and The Royal Academy.
She featured as a choreographer/actress on several short films for the now celebrated Advert Director Ian Pons Jewell. She also choreographed material for The Foals (Inhaler). In 2020 she was headhunted to be choreographer for The Northman directed by Robert Eggers making material for a large stunt cast and for Alexander Skarsgard, Anya Taylor Joy and Willem Dafoe.
In 2021 she created the solo dance for Lebanon Hanover music video ‘Come Kali Come,’ She also received commissions for site specific choreography ‘Mujokan’ for Kew Gardens in London (Temperate House) and a solo for Ashmolean Museum in Oxford. In 2022 she worked as the movement choreographer for Netflix The Witcher series 3,
In 2023 she worked with director Robert Eggers on Nosferatu as movement choreographer mainly working with Lily Rose Depp. Their work together has generated enormous and unprecedented press interest.
She is a Senior Lecturer in the Theatre and Performance Department at Goldsmiths University of London and is co-director of the MA Screen Acting.
Chapters
The Artistic Journey Begins
Discovering Butoh: A Serendipitous Encounter
Understanding Butoh: Origins and Philosophy
Personal Interpretation of Butoh
Nature's Influence on Dance
Transitioning to Film: A New Medium
Butoh in Film: A Perfect Match
The Choreographic Process in Film
The Role of an Assistant in Choreography
Looking Ahead: Future Collaborations and Projects
To read more about Marie-Gabrielle Rotie visit: www.rotie.co.uk and www.butohuk.com
Follow on Instagram: @mariegabriellerotie
To get in touch with Stephen visit www.stephenmoynihan.net and follow @stmoynihan on Instagram.
References:
‘Shades of Darkness ‘, Jean Viala and Nourit Masson Sekine 1988
'The Kazuo Ohno’s World: From Without & Within', 2004. Quote from page 222
Stephen Barber, 2019, Film′s Ghosts – Tatsumi Hijikata′s Butoh and the Transmutation of 1960s Japan, Diaphanes.