Founded in 1994 and led by Artistic Director Charlotte Vincent, Vincent Dance Theatre (VDT) produce powerful and engaging dance theatre accompanied by extensive programmes of social engagement and professional development work.
Charlotte Vincent is considered ‘one of the UK’s leading female choreographer/directors’ and ‘one of the most important feminist artists working in Britain today’ (The Observer). VDT is an international ensemble of multi-tasking collaborators who devise interdisciplinary performance to challenge conventional values in dance and gender politics.
Charlotte Vincent’s distinctive voice is increasingly in demand as a mentor, facilitator, provocateur and catalyst for critical debate. Charlotte facilitates Professional Development work through VDT’s ChoreoLabs and via Dance Agencies in the UK and abroad and co-curates The Table with Claire MacDonald, a network of established female artists who come together for nourishing, political conversation and creative exchange.
VDT places importance on gender equality, provides supportive work conditions for parents to return to work and collaborates across generations. The company is currently developing ways to distribute Vincent’s work both live and online, ‘touring’ in more parent-friendly and ecologically sustainable ways.
In 2021 VDT is premiering HOME TRUTHS, a new installation which investigates alternative notions of ‘home’, drawing on Vincent’s growing knowledge and understanding of trauma and how adverse childhood experience impacts on brain development, identity and belonging.
In 2022 VDT will be touring HOLD TIGHT a new live on-stage production which reflects on themes of enforced separation and insecurity to draw parallels between the impact of the global pandemic on family relationships and the effects adverse childhood experiences have on young lives.
‘Given the cultural and financial vicissitudes of the past two decades, it’s pretty remarkable that Charlotte Vincent has kept her own independent dance company running for 21 years.’
The Guardian, 2015