Theo Clinkard is based in 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, 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) with touring that includes Chile, Ireland, Switzerland and Germany.
His most recent company work for twelve performers and live music,
This Bright Field (2017), premiered as part of Brighton Festival before touring UK. Future company plans include Century Project (2020); a work that will span 100 years and a new large-scale stage work, Understory (2021).
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) his new work for Candoco Dance Company and Helm (2019), a work conceived for the nine dancers with autism and/or learning disabilities from The Talent Hub, will both premiere this Autumn.
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.
Clinkard is an Associate Artist at Brighton Dome & Festival, Dance4, The Hall for Cornwall and an Honorary Fellow at Plymouth University.
At the heart of Clinkard's practice is an interest in the communicative potential of the body and the empathetic nature of dance in performance. His dance works are usually conceived in response to context and/or spaces; designing unique audience/performer situations that engender fresh ways of experiencing dance. He intends to construct environments for memorable connection by foregrounding the dancers subjective experience within the worlds he constructs, to articulate a landscape of feelings and ideas for the observer.
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.