A native of Atlanta, Georgia, Katelyn Rose King is a performer and conceptual artist working in the fields of theater, music, and everywhere in-between.
Although Katelyn is classically trained in percussion performance and theatrical music interpretation, she often creates her own works with other collaborators, and has embodied many differing roles in various artistic projects: directing, composing, compiling, performing, writing, and researching.
While Katelyn still loves performing as a classical contemporary percussionist, her own artistic creations delve into reflections on authorship, performance presence, vocal expressions, composed improvisation, explorations on sound atmospheres, and creation through curation.
Katelyn has three ongoing ensembles all over the world: Ensemble Aabat (Bern), a New Music Theater collaborative trio; speak/strike (USA), a commission initiative to the creation of new works for percussion and voice; and Dressage Percussion (Hong Kong), a percussion trio dedicated to the performance of historic and new theatrical percussive repertoire.
Katelyn’s past and present collaborations include work with the Burgtheater in Vienna, Städtische Bühnen Frankfurt, Stadttheater Basel, Stadttheater Bern, Lucerne Festival Academy and Alumni, presentations at PASIC and Transplanted Roots Percussion Symposium, and works with composers, directors, and artists such as Ulrich Rasche, Till Wyler von Ballmoos, Jonas Kocher, Katharina Rosenberger, Carolyn Chen, Justin Rabideau, Christopher Adler, and Andrea Mazzariello.
At the moment Katelyn is primarily based in Europe while working toward a doctoral degree at the Universität Hildesheim in Germany. Under the mentorship of Matthias Rebstock, her thesis explores the working and creation processes of co-creative new music music theater productions. To complement her own personal research, Katelyn is part of a research team led by Leo Dick, and funded by the national swiss foundation, to undergo a four year research project that surveys the independent new music theater scene in Switzerland.
Katelyn has a Master in Composition and Theory in Théatre Musical from the Hochschule der Künste Bern (CH, 2017), a Master in Music Performance from McGill University (CA, 2015), and a Bachelor in Music Performance from Kennesaw State University (USA, 2013). Her most recent awards include the Rita Zimmermann Musik-Stiftung, Lyra Stiftung, Swiss Excellence/Fulbright, and a McGill Recording Competition Prize.
…rechts die Schlagzeugerin (Katelyn King), die das ganze Stück durch an einer Batterie Trommeln den Rhythmus vorgibt. Sie spielt so tänzerisch und mit einer Art innerer Heiterkeit, dass rund um die Trommeln eine andere bessere Welt entsteht und ich minutenlang nur zu ihr hinsehe.
Gabi hift | Nachkritik, 2019
(D)ie an der Bühnenrampe agierende Musik, links die Streicherinnen und Streicher, rechts das Schlagwerk, bedient von der grandios die Contenance bewahrenden Katelyn King, verleiht dem ganzen Abend die Aura eines Oratoriums von überwältigendem Ausmaß.