Co-Founder, Co-Artistic/Managing Director
Charles is an interdisciplinary artist with glasses and patched pants. Interested in work that thinks for itself, he has created multiple pieces including his most recent EX, a dance-theater hybrid that explored themes of family, memory, and loss in October at the California Building. Previously, in June he created Interview the Artist as part of Kevin Obsatz’s Art/Road/Movie at the Bryant-Lake Bowl. In 2013 he acted in Savage Umbrella’s Emma Woodhouse Is Not A Bitch and Theatre Novi Most’s Something About A Bear.
His 2012 performance Black Water was considered one of the best productions of 2011-2012 by Minnesota Playlist. They Rebuild Ersilia Elsewhere was created for Young Dance’s 2012 site-specific At Large season and was based on Italo Calvino’s Invisible Cities as read with students.
Other work includes his 2009 movement-theater piece He Woke Up In A Strange Place Called Home And Although Looking For Bed He Kept Finding Death Instead which was an examination of global violence and domestic acceptance that took audiences through houses and streets of a quiet middle-class neighborhood. Deeper into the past his work includes Jasper Johns: GRAY (2008), Islands of Chekhov for the 2008 Twin Cities Chekhov Festival, Visits With Woyzeck for Open Eye Figure Theatre‘s 2008 Toy Theatre After Dark series, Theater Piece for Unbranded (2008), Strange Love (performance) (2007) in a coffin factory, A Quiet Ambition (2006) with Cherri Macht in a brewery office (which also traveled to Yaroslavl, Russia, as part of the International Festival of Movement and Dance), The Car: The Taxi (2004) in a taxi, The House (2004), Pipes (2003), as well as You Are Here (2002) in an observatory and The Bicycle (1999) with architect-sculptor Steve Epley.
If you’re desperate for more, there were his 12 audio works for Please Remain Seated (2011), and two videos: The Hidden Life of Hands for the Dance Film Project 2010 and Still Life: or when you’re away the walls speak your name (2009) for Cubicle, Skewed Visions’ series of podcasts. He produced the second season, Cubicle2: on the internet nobody knows.
Interested in exploring work that troubles disciplinary categories, he has a great respect for the bountiful Twin Cities experimental dance community. In February and March 2014 he performed in Laura Holway’s Small Dances, in which he performed his morbidly amusing Interview with volunteer audience members. Further, Mr Campbell has been fortunate enough to four times take part in the award-winning work of choreographer, dancer and photographer, Megan Mayer. In fact, he was able to work with her at the prestigious MANCC in February 2012. Most recently he took part in Megan Mayer’s Soft Fences at the Red Eye in December 2014. He also made an appearance in the rascal performance group Mad King Thomas‘s All Sparkles, No Heart in July 2011.
When not acting, dancing, or creating new performance works, he hosts and organizes Skewed Visions’ Petri Dish, a series of discussions designed to facilitate perpetual conversation and exploring and expanding the possibilities of art.
He was a finalist for the (now defunct) 2009 Bush Foundation Artist Fellowship, and recipient of the 2007 Electric Eyes: New Music and New Media Festival commission, the 2003 Intermedia Arts Naked Stages performance art commission, the Weisman Art Museum’s 2000 Temporary Public Art on Campus commission, and a 2001 Jerome Foundation Building Administrative Capacity grant. He has also been seen on The History Channel, in Jaime Carrera and Tyler Jensen’s Hustle, and with Flaneur Productions in Minneapolis, Minnesota; Leeds, England; and Edinburgh, Scotland.
He blogs as necessary at One Skewed Vision. He wrote a series of articles for Minnesota Playlist on “change” you can read anytime you like, here, here, here, and here. He is also proud to be a part of Criticism Exchange, a new online forum created by Emily Gastineau and Theresa Madaus that is “a space for performance-makers to write about each others performances and for everyone to read them.”
Normative education includes a BA from Sarah Lawrence College, study as a part of the Chautauqua Conservatory Theater Company and at the Classic Stage Conservatory in New York City. In 1991 he entered the University of Minnesota where he sneaked an MA in Theater, studied with the Margolis-Brown Company, and wrested a PhD out of some cold dead hands in 1997, where he has since been seen teaching. He has been assiduously studying the theories and practices of Tadeusz Kantor since 1993.
Perhaps most interestingly, he is the stay-at-home parent for two boys who will soon grow to be rich and support him.