Theo Clinkard is based in Heptonstall, West Yorkshire and his current practice spans choreography, theatre design, performance and pedagogy.
Following twenty years dancing for some of the UK’s most celebrated choreographers (including Wayne McGregor, Siobhan Davies, Leah Anderson and Matthew Bourne) he launched his own company in 2012 and has steadily built an international reputation for creating affecting and visually arresting work for small, middle and large-scale theatres as well as non-theatre settings.
Past company productions include Ordinary Courage (2012) Chalk (2014) and Of Land & Tongue (2014) and his Brighton Festival commission, This Bright Field (2017). International touring includes Chile, Ireland, Switzerland and Germany. Current company plans include Century Project (2021); a work that will span 100 years.
International commissions include Somewhat still, when seen from above (2015) for Tanztheatre Wuppertal Pina Bausch and The Listening Room (2016) for Danza Contemporanea de Cuba, Hot Mess (2019) for Candoco Dance Company and Helm (2019), a work conceived for the nine dancers with autism and/or learning disabilities from The Talent Hub.
Since 2015, Clinkard has been working closely with dance artist, Leah Marojević. Their first co-production, The Elsewhen Series (2019) a set of duet scores for gallery and museum spaces, premiered and the V&A Museum this September.
Clinkard regularly leads intensives workshops, residencies and classes internationally for professional companies, dance organisations and training institutions, including engagements in Chile, Belgium, Ireland, Germany, Wales, Scotland, Australia, New Zealand, Switzerland, United States, France, Spain, Cuba, Italy, Finland, Sweden and Norway.
As a movement director/choreographer in non-dance settings, he has collaborated with Stewart Laing, Annabel Arden, Tim Crouch/Spymonkey and spent 2 years working on world tours and videos with Kylie Minogue.
Clinkard is an Associate Artist at Brighton Dome and The Hall for Cornwall and an Honorary Fellow at Plymouth University.
Clinkard’s choreography has an unforced,
unhurried quality, that is very much of the moment.
He muses, tinkers around with his material like a bloke in a shed,
and then, quietly and deftly, pulls the loose ends together,
the result is intimate, human-scale and charged with joy.