The Constructors is a dance made by Hilary Easton (hilaryeaston.com) for which I wrote the score. It premiered at The Baryshnikov Arts Center on May 17th and ran until the 20th. The performers were Alexandra Albrecht, Michael Ingle, Emily Pope-Blackman, Joshua Palmer, and Sarah Young. Lights were by Kathy Kaufman and costumes by Madeleine Walach.
I wrote and recorded the score over the Winter and Spring of 2012. The score consists of acoustic instruments and electronic processes. The instrumentation includes guitars (acoustic, electric, lap-steel), piano (acoustic and electric), harpsichord (acoustic and sampled) and violin. The electronic processes were done almost entirely in SuperCollider. There are a few very small bits which were done with a modular synthesizer.
The Constructors, set to original music by Mike Rugnetta, lighting by Kathy Kaufmann, and costumes by Madeleine Walach, reflects upon the nature of collaborative experience--chronicling the satisfactions and challenges in the act of "dancing together". With an adroit choreographic structure, The Constructors presents a series of kinetic tasks that lead to an increasingly layered and interrlated social fabric. The "we" which emerges is fully animated by the individuals involved, and alters those individual selves as well. The Constructors continues Ms. Easton's career-long fascination with the open ended conversation between performer, work of art, and viewer; the most compelling act of construction is the one established by these three entities.^
An evening length performance at The Chocolate Factory in Queens, NY for one performer, video system and sound. I designed and implemented the video system which includes a remote cue-building and recall system for two moving cameras, an in performance monitors system and three projectors (two of which are projection mapped onto the curved rear screen).
There’s no dance in “Selective Memory,” but its connection of image and movement places it in the forefront of today’s many investigations of how video can connect with live performance. When other images of Ms. Best appear on-screen, meanings multiply: they’re afterimages, they’re further parts of the artistic shadow realm that attends her reality. But they move independently of her, and the world of “Selective Memory” is transformed when suddenly the cyclorama turns verdant with a view of grass, ferns and leaves. Then Ms. Best is shown walking beside a stone wall and then away down a lawn into the distance. The camera tries to follow her and catches a glimpse or two. Then it abandons the effort and lifts its gaze into the treetops and sky, as if that’s where she has vanished.^
H to Oh
An evening length performance at The Chocolate Factory in Queens, NY, choreographed by Pele Bauch and performed by Pele Bauch, Bryon Carr and Jessica Winograd. I wrote and recorded the score.
H to Oh is a dream-scape of vignettes: a temper tantrum dance splashing in a kiddie pool, a family photo, sibling rivalry, and lots of laundry. Part psychological landscape and part pure movement, H to Oh explores the quandaries, emotions, and sensations infused in private moments of ordinary routines and the fantasies of what we might do. The work explores the simple beauty and emotional complications inherent in life, even in mundane tasks.^
Light And Shade
An evening length performance at Baryishnikov Art Center in New York, NY, choreographed by Hilary Easton and performed by Michael Ingle and Emily Pope-Blackman. I wrote, recorded and performed the score.
Light and Shade is an evening-length duet for Emily Pope-Blackman and Michael Ingle investigating the nature and confines of intimacy. It unearths a world for two whose relationship develops and changes: by turns subtly or surprisingly, sometimes abruptly, as they experience connection and separation, reliance and autonomy. It creates a landscape where dancers and audience are asked to lean in towards each other: to examine closely, to navigate ways of experiencing. This is a dance of focus and hush. Light and Shade continues Ms. Easton's commitment to the open-ended dialogue that exists between performers, the work of art, and the viewer.^
A Number of Small Black and White Dances
An evening length performance at Dance New Amsterdam in New York, NY, choreographed by Aynsley Vandenbroucke, for which I wrote and recorded the score.
From Aynsley Vandenbroucke; movementgroup.org:
A Number of Small Black and White Dances "builds off repertory from the past eight years. Fragments of pre-existing dances rub edges like the pieces of white paper (some with words like 'touch' and 'begin' printed on them) arranged and then strewn across the stage.This is no highlights program, but a tender reimagining of the past, and a sophisticated rumination on how an ephemeral art form can survive while staying true to its fragile, mutable essence." Claudia La Rocco, The New York Times^
Untitled #5 is a dance performance for video. It was choreographed and performed by Madeline Best and Eric Conroe. It was directed, filmed and edited by Patrick Davison with help from Julie Talen. I wrote and performed the music live during filming. No material was prepared beforehand, no material was changed in post-production.
From the project description:
The life span of a physical decay like that described above could take a very long time. In fact, the longer, the more interesting. The greater the total time, the greater the total change, and the more subtle and rich the differences from moment to moment. There is only so much I can ask of an audience, though. I can not ask them to sit for 5 hours of repetitions. This is where the language of the screen makes something new possible. The compression of time - arguably the most basic element of filmic constructions - allows for transformations of hours to take place in minutes. It frees me to treat time as another variable with which to compose - alongside shape and space and proximity. ^
view the full performance.
Revealing is an evening length dance / performance piece directed and choreographed by Elizabeth Sargent. It was performed by Marcia Johnson, Djamila Moore and Aynsley Vandenbroucke at Danspace at St. Mark's Church in May of '07. Lighting design by Kryssy Wright. Costumes by Elizabeth Sargent. I wrote, recorded and performed the score.
Revealing is Liz Sargent's exploration of the way we see the world where the audience and performers investigate how they see themselves and how they try to control the way others perceive the world. The performers journey through reflective surfaces using repetitive visceral actions, an analogy for the destruction of the layers that keep them from seeing their past, present, future and ultimately true selves. Joined by some of New York's most talented young artists, Liz Sargent builds an environment that allows our differences to be seen as illuminating and horrifying. ^