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Caroline Copeland has been described as a “dance-provocateur” by the
Courier-Journal and “sublime” by the Wall Street Journal. In 1996, she joined
the New York Baroque Dance Company and has performed with the troupe
throughout the United States and Europe, most notably at the Drottningholm
Theater, the International Händelfestspiele Göttingen, Danspace at St. Mark’s
Theater, the Guggenheim Museum, and at Potsdam Sanssouci. Caroline has
assisted Catherine Turocy in her direction of Rousseau’s
Le Devin du Village
with Antoine Plante and the Mercury Baroque, as well as Handel’s
with Nicholas McGegan and the Philharmonia Baroque Orchestra and she
recently re-staged Ms. Turocy’s
Les Petits Riens on the students of Hofstra
University. As a solo performer, Caroline has collaborated with many early
music groups around the US and Europe including Quicksilver, The Four
Nations Ensemble, The New York Collegium, Brooklyn Baroque, The New
Dutch Academy, Bourbon Baroque, and the New York Consort of Viols. And
since 2000, Caroline has appeared as a guest artist in nine productions with
the Boston Early Music Festival, co-choreographing two of them: Steffani’s
Niobe, Regina di Tebe and Handel’s Almira.

Caroline often works in opera, theatre, and university settings where her love
of history and dance informs her creative and teaching practices. Her past
creations include: Handel’s
Alcina for Bourbon Baroque
(Director/Choreographer). Stravinsky’s
A Soldier’s Tale at Hofstra University
(Direction/Choreography), Rousseau’s
The Cunning Man and Stravinsky’s A
Soldier’s Tale
at Cornell University (Choreography), and Attowell’s Frauncis
New Jigge
at Yale University (Direction/Choreography). Other work has been
presented at the historic Federal Hall, The Metropolitan Museum of Art, The
Public Theater, and the Philipszaal in the Hague.

Caroline has taught master classes in baroque dance and gesture at
numerous colleges and universities including NYU Gallatin, Rutgers, Cornell,
Yale, and Vassar and has presented her programs on Shakespeare and the
Dance and George Washington Loves to Dance! at elementary schools
across the US. Caroline earned a MFA in Dance from Sarah Lawrence
College and is an Adjunct Professor at Hofstra University where she enjoys
teaching classical ballet from a historically informed perspective.
Caroline continues to keep both feet in the worlds of early and contemporary
dance practice. As such she has been creating choreographies that integrate
text from period treatises and memoirs. Her newest solo,
An Analysis of
is a virtuosic display of baroque and contemporary dance technique
based on Louis Pécour’s 1713 choreography, The Passacaille from
QC Video
Règne, Amour (Boismortier)