L.A. Party was created in my living room and went on to be performed throughout the U.S. and Canada. It's a spin on a very familiar form---the one man show. A simple video technology is used: one performer lying on the floor has his face projected on another persons face. Each of the six performers plays a certain body part (the voice, face and body) and the actors collaborate to create a composite human being. The resulting “person” spins a wild tale: a raw foodie plummets off the vegan wagon into a wild, drugged-out L.A. ride.
A collaboration with Jim Findlay at the Center Theatre Group in Los Angeles.
The third part of a trilogy about physical space and the second collaboration with CIE 111. MORE OR LESS INFINITY is about the geometry of the line. It premiered at Vidy Theatre in Lausanne, Switzerland in late September 2005. It has performed throughout Europe including Kampnagel, BITEF, Theatre de la Ville, TNT and Pina Bausch's NRW International Dance Festival in Dusseldorf.
to whom it may concern was created with the Act One Company at The Williamstown Theatre Festival in 1996. It was restaged on the entire 15th floor of an office building in downtown Manhattan and then invited to the Belgrade
International Theatre Festival in 1997. The impetus for to whom it may concern spoke precisely to my commitment to investigating what's possible in a space we like to call theatre. In place of psychological realism and people going round a couch on a fake set, I created events from walking patterns with actors clothed in business suits and briefcases. At certain moments the performers jumped together, changed direction, moved in unison, set out on their own, came together as a group, moved in slow motion, etc, etc. All of the events were “Fact-Driven” and all compelling to watch. The patterns were organized into loops. First a group of 3 walked together, then 4, then faster, then another larger group—and changes I built in the patterns gave something for the audience to hang onto. It was a new and different kind of theatre narrative. It was organized around the musicality of movement in space, and performed by actors. It was poetic. The patterns (what I like to call loops) sped up, became tighter and created an undeniable emotional tension in the space. I was determined to make a kind of theater that was more awake: innovative, gritty, visually and spatially aware -- and that embraced theatres abstract power.
installation, physical theatre, and opera to explore how people and machines co-exist today.
Six performers on wireless microphones are paired with six human-scale loudspeakers on stands, networked together via a computer program. Using voice recognition, the loudspeakers actually respond to the vocal gestures input by the performers, creating a dynamic feedback loop between the two. The sung, spoken, and physical gestures make up small vocabularies that are constantly reconfigured, delayed, and spatially multiplied, to generate a disorienting and hypnotic complexity from the simplest means.
The piece is conceived as a suite of sonic / choreographic movements, each with a radically different spatial arrangement: a traditional proscenium, a large circle surrounding the audience, a small square inside the audience, a wall in front of the audience, and randomly dispersed through the performance space. Each configuration – simply defined by a new arrangement of the performers and loudspeakers – invites the audience to arrange and define themselves in relation to the piece and each other. Thus, choosing where to stand, what to see, and how to receive i/o becomes an integral part of the experience.
William Shatner’s image from the original Star Trek series speaks on the subjects of contemporary art and science. Phil Soltanoff (director), Rob Ramirez (systems designer), and Joe Diebes (writer) have created a dynamic, video Shatner oracle by meticulously cataloguing William Shatner’s words from the original Star Trek series. Together, the artists attempt to bravely make Captain James T. Kirk expand our universe.
Is about public space. It reacts to public space with choreographed movement. Choreography is created in response to the specific qualities of a particular space and thus SITSTANDWALKLIEDOWN is a movable feast—its concept remains the same but its particulars change based on where it’s constructed.