Doug LeCours
Doug LeCours is a performer, writer, and artist. He is currently pursuing an MFA in fiction at the Helen Zell Writers’ Program.
A Dancer’s View: Pavel Zuštiak’s Hebel
By Doug LeCoursHebel translates to vanity, emptiness, vapor, breath, absurdity, or fleetingness, among many other possible definitions. Murdered by his brother, Abel becomes the embodiment of the absence he’s named for. With no motive given, we are forced to fill in that narrative gap ourselves, to make sense of the senseless.
In Conversation
Muse-ship: Pleasurable Resonances
By Doug LeCours and Julie MayoOn the occasion of Rail contributor and dancer Doug LeCours’s departure from New York, he and choreographer Julie Mayo convened for a conversation about their six years of work together through the lens of “muse-ness,” a reciprocal relationship of inspiration.
One year of Dance in Bushwick
By Doug LeCoursDance in Bushwick (DiB), founded by Joanna Futral, aims to provide a platform for dance and performance artists living or working in the neighborhood. Futral works closely with her husband, Casey Kreher, who serves as technical director.
In Conversation
JOANNA FUTRAL with Doug LeCours
This year, I kicked off the fall performance season in the basement of Hart Bar at Dance in Bushwick’s one-year celebration. Dance in Bushwick (DiB), founded by Joanna Futral, aims to provide a platform for dance and performance artists living or working in the neighborhood. Futral works closely with her husband, Casey Kreher, who serves as technical director.
Somatic Brutality
By Doug LeCoursI saw the trailer for Gaspar Noé's Climax right before watching Luca Guadagnino's remake of Dario Argento's Suspiria. The trailer draws an immediate parallel between the two films: an interview with a young woman plays on an old TV, flanked by a stack of VHS tapes including Argento's original.
Traditional Kinetics, Queer Potential: Levan Akin’s And Then We Danced
By Doug LeCoursJust then a new male dancer named Irakli arrives on the scene, and his rebellious charm quickly grabs Merab’s attention, as does his talent: Irakli is a gifted dancer who is also planning to audition for the coveted spot in the main touring ensemble. Irakli’s dancing is strong and sharp in contrast to Merab’s lithe fluidity, and the rehearsal director praises him, switching Merab out for Irakli in the duet with Mary. Competition aside, the two grow closer, and it’s an endearing (and at times predictable) portrayal of emergent desire. Their courtship materializes in familiar ways: a look between the boys lasts too long, a hand lingers on a thigh while demonstrating a difficult sequence in rehearsal. Their relationship develops most compellingly when they dance.
