Lorn MacDougal and Alain Le Razer were among the firsts to juxtapose dance with film, beginning in 1989 in NYC when their exciting choreography/film animation collaborations offered a new visual and theatrical experience to audiences. The partners have toured their Dance & Film work in the US, Europe and Asia. Le Razer, MFA New York University Institute of Film And Television, creates short films that link sound and moving image with “attention getting clarity” according to The New York Times. His work has been seen in festivals world wide and awarded for best animation and innovative form.

MacDougal, who danced with Daniel Nagrin, Don Redlich, Phyllis Lamhut and Lar Lubovitch among other choreographers, is known for her technical and dramatic style both as a dancer and choreographer. Dance Critic Deborah Jowitt wrote “Lorn MacDougal is not only unusually fine, but unusual.” She has taught as a guest or faculty member in dance departments and academies among which are De Theaterschool Amsterdam, The Juilliard School, NYU Tisch School of the Arts, Rutgers University, Princeton University, The University of Texas at Austin, and as Artistic Director of Transitions Dance Company at Trinity Laban in London.


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MacDougal’s six winning dancers will wow you with their command of her stylized modern vocabulary. Look out for drop-dead knee drips, six-o’clock leg-splitting balances, vertical and horizontal propeller spinning, fine athleticism and intricate, complex floor patterns. It’ll all be deftly woven together by MacDougal’s characteristic groove in a mature and understated fluidity. Certainly one of the highlights will be film-maker, composer and performer Le Razer, who impresses during solos with his Chaplinesque miming, a steady technique reminiscent of Wim Vanderkeybus’s stuff from the late 90’s, and a look that hints at Elvis Costello – he’s truly one of a kind.“

Monique Gruter, Amsterdam Weekly


Le Razer’s films are about transformation, or rather, their life is in the witty fluidity of anthropomorphic and architectural forms, in the contrast and inversions of light and darkness…The image sequences are protean in their surreal, defiant logic. Between the viewer and the whimsical mind of the artist/filmmaker there seem to be no barriers.”

Burt Supree, The Village Voice, NYC

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