Choreography and coaching by Deborah Hay, co-choreographed and performed by Eric Geiger, Jess Humphrey, Leslie Seiters. You can find all things pause, here.
We (Jess Humphrey, Leslie Seiters, and Eric Geiger) each wrote abstracts on shaking, touching, and queering, respectively, and applied to present them in a themed formal session at the Arts Practice Research conference at Texas Tech University in October of 2015. This particular constellation of verbs does not alone represent our work, but our orientation
Directed by Leslie Seiters, more UNICORN continues the work of UNICORN. In Leslie’s words: more UNICORN is a dance assembled from a suspicion that we can’t make magic happen AND a belief that magic is inevitable every time. We practice and exploit contradictions with our bodies, each other, the choreographic process, and our relationship
UNICORN is directed by Leslie Seiters. UNICORN is assembled from a suspicion that we can’t make magic happen AND a belief that magic is inevitable every time. In this evening by Leslie Seiters/little known dance theater we practice and exploit contradictions with our bodies, each other, the choreographic process, and our relationship to the audience.
Directed by Eric Geiger and performed at Space 4 Art in San Diego, California. “Whatever you’re doing, call it shaking.” -Eric Geiger
Here is the unedited list of ideas and questions* that inspired each of us to engage in this endeavor. It comes from the original email I sent to the cast: 1. exploration of “expression” through Laban, postmodern dance, and Somatics lenses in an attempt to continue the evolution of what that word means in the performing arts. 2. release
Who: a list Beginning in 2007, LIVE has included Kristopher Apple, Dina Apple, Emily Aust, Liam Clancy, Anya Cloud, Viktor De La Fuente, Ron Estes, Eric Geiger, Allyson Green, Jess Humphrey, Zack King, Verónica Santiago Moniello, Justin Morrison, Blair Robert Nelson, Krista Kaye Nelson, Nhu Nguyen, Mary Peterson (formerly Mary Reich), Karen Schaffman, Leslie Seiters, Yolande Snaith, and Aubrhe Yruretagoyena. What: 1 Story What
Entering Now (2007) was my thesis concert at the University of Utah. It was a shared evening with Shannon Mockli. A few ideas I was working with at the time: Scores and set material within the same work to learn more about how ways of being in performance changed as dancers shifted between the minds
Sara came to San Diego (supported by CSUSM/Karen Schaffman and SDSU/Leslie Seiters) in the spring of 2009. She led Karen, Leslie, Ron Estes, Eric Geiger, Rachael Lincoln, and I through several experiences in the studio over about 5 weeks. It was intense in many ways, and often magical…not the woo woo kind, but the trans-rational
It’s 2008 and I just finished graduate school at the University of Utah in hyper-conservative Salt Lake City, Utah. Justin Morrison suggests I apply to work and perform with Guillermo Gómez-Peña’s La Pocha Nostra at the re-opening of since closed SUSHI Performance and Visual Art space. There’s a bit of footage of me, pre-performance with performance artist,
I’ve called this little diddy that Judy Bauerlein and I worked on “solo mamas”. When we get back to it someday, I’m sure it will find a new name. The score so far… soloist: Get up, run out of the room, and stop at the foggy glass window. Pause. Move some clothing to reveal what’s