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- is Mary Armentrout's acclaimed "solo" show that explodes both the notion of self-identity and the usual proscenium model of dance theater - meaning it is both a site specific performance installation in and around the old Sunshine Biscuit Factory in Oakland, as well as an autobiographical "solo" show with three other people playing also playing the title role, since this is a self that can't be kept in one piece. -
This show has now had two sold out runs at the Biscuit Factory, and has got me a nomination for an Izzy (the bay area's Isadora Duncan Dance Awards) for choreography. Yeah. Not too bad!
However, I am feeling like this show could tour - perhaps we could sell out shows in other places too! - and even though there are some unusual considerations because of the site-specific aspects of the piece, I think it could map onto many different locations with great success.
So, here is my current wish for "woman invisible" - I will find another large (or small) industrial site/ theater spot in New York City, or Chicago, or Seattle, or Portland, or your town! where I will be able to create a new embodiment of this piece. If you have any thoughts in this direction, I would love to hear them!
read the great SFBG Weekly Pick by Rita Felciano
or the great first review by Heather Desaulniers of Critical Dance
or the great second review by Heather Desaulniers of Critical Dance
or the lovely write up in the SF Chronicle
plus the Staff Pick in the East Bay Express
or the second Staff Pick in the East Bay Express
and read the full press release here
and go here to find complete directions to our space
and in other news, I have started working on a new project, called "reveries and elegies." This project is an extension of my interests in the site-specific, pushing in a couple of different directions. First of all, this piece will happen in four different spaces over the course of four months, so the material will be morphed and mutated by the different sizes and shapes of the spaces it will inhabit. Also, as each space will elicit slightly different versions of the same material, the content will shift in each space, so the piece will be actually different in each space. As this piece speaks to that particular quality of human life (and of performance too) that every moment is different and new and unfixable and so also gone as quickly as it is experienced, these formal structures that mutate and shift seem pertinent. Look for this work in fall of 2012 - my plan is to have it play one weekend a month from November through February, starting at the Biscuit Factory, moving to a small east bay gallery, then to Counterpulse in the city, and ending at a small gallery on the beach at Ocean beach. There are also a few work in progress dates shaping up for April, and we'll see what else too...