Get to know two of the guest artists behind BECKETT: Nothing Is Certain in these conversations with Skidmore faculty members Adam Tinkle and Erika Pujič. Adam, the production’s Sound & Video Designer, is Director of Skidmore’s MDOCS program and an Assistant Professor of Media Studies. Erika, who served as the production’s Choreographer, is an Associate Teaching Professor of Dance. Hear more about their creative processes, their work on the production, and what they brought to this collaboration.

Interview between Maeve O’Toole ’29 and Adam Tinkle:

Interview with Erica Pujič:

What is your role in BECKETT: Nothing Is Certain?

Erica Pujič: I am the choreographer for this production.

What’s the biggest challenge of creating movement for Beckett’s work?

EP: I think the biggest challenge is finding the balance between honoring Beckett’s stage directions, minimalistic style and precision in executing his vision with my own ideas and creative voice. Knowing how far to push the boundaries while staying true to Beckett’s vision was daunting and exciting all at the same time.

What’s the most surprising thing you’ve discovered during this process?

EP: Not so much surprising as inspiring, but being part of the early stages of this process and seeing the final production in performance was incredible. It was amazing to have a leader like Jared Klein who dreamed big and a team who worked together to make this production a reality. I learned so much throughout every stage of this process that I will carry with me in future collaborations in the Dance Department and beyond.

Choreographing from instinct or from a plan?

EP: I am someone who likes to come to rehearsal with a plan and then once I’m in the room with the actors, instinct will take over and reveal what needs to happen next. I like to highlight the strengths of the people I am working with while challenging them to push past their boundaries to discover something new.

What dancer or choreographer are you particularly inspired by lately?

EP: I am always intrigued by Robert Battle’s work. Being someone who has worked with him for over 30 years, his work is a huge part of my dance DNA. He continues to create bold and inspiring work that excites me as a mover and dancemaker. I am also enamored with Pina Bausch and Ohad Naharin’s choreography. Both of these choreographers have very distinct and unique movement vocabularies and their production value from choreography, to music selections, to costumes, to sets, to final product creates intriguing worlds that I am excited to be a part of as a viewer.

Favorite moment in the show?

EP: I have to say Quad is my favorite. The actors worked so hard on this piece and really brought everything to the table throughout this whole journey. It was rewarding for me to witness the passion and dedication that went into mastering the choreography and musicality. And the first rehearsal we were able to put sound, video, and choreography together was magical.

What do you hope audiences experience through the movement in this production?

EP: I hope that the audience can feel like a piece of themselves is in these works. As humans we are in this game of life together and because movement is a universal language that everyone can understand, I believe it is a way that we can all connect. Movement is a powerful tool that can evoke many emotions and allow everyone.