• March 17, 2013

    What’s it about?

    By Published On: March 17th, 2013

    It’s about capitalist self-censorship, and whether or not I can feel it in my kidneys. It's about having nothing to say and saying it, as if John Cage needed our poetry, too. About our eternal need for snacks to feed the phantom limbs. About rhetorical silence, felt silence. dead silence. Freedom protection. —That won't sell—

  • March 14, 2013

    A little video preview of Twindependent

    By Published On: March 14th, 2013

      Twindependent Preview from Twinnie McTwinn on Vimeo.

  • March 14, 2013

    Nudes Flash

    By Published On: March 14th, 2013

    I'm debating whether to get naked in our upcoming show, Twindependent. I'm waiting to hear if my collaborator agrees with me that we should. I emailed her about an hour ago when I got the "nudes flash;" the vision. It was debated at our last WIP (work in progress) showing. A male friend wanted to

  • March 10, 2013

    Starting State

    By Published On: March 10th, 2013

    As soon as I started scripting material for State, I shifted its context by taking it outside. The Djerassi Ranch in Woodside (where I was in residency last May) invites that kind of play, of course, and offers innumerable sites to take advantage of. Here is a short blip from one such adventure: Funsch launch

  • March 10, 2013

    Signifying nothing…

    By Published On: March 10th, 2013

    Rosemary Hannon / Andy Lundberg. photo: Miriam Wolodarski

  • March 7, 2013

    The dancer’s body: A space of resistance?

    By Published On: March 7th, 2013

      The Goethe-Institut San Francisco supports Isabelle Schad's research work for her new production COLLECTIVE JUMPS and has also initiated an artist talk on the CounterPULSE stage that will bring together the Berlin & San Francisco Dance Scene on March 13, 2013. Furthermore Isabelle Schad and Laurent Goldring will show one piece out of the

  • March 3, 2013

    UNTURTLED #4

    By Published On: March 3rd, 2013

      "UNTURTLED might suggest a removal of the shell from the turtle’s back to reveal what is hidden beneath. The work of Isabelle Schad and Laurent Goldring, however, doesn’t allow us to peep under the cover. On the contrary, the body is disappearing almost completely underneath the moving accessory that nevertheless exposes its movements as

  • February 26, 2013

    Jesse Zaritt on “You’re Me”

    By Published On: February 26th, 2013

    Jesse Zaritt, my co-performer in You're Me, recently wrote an essay on the work which can be found in full on Culturebot: "What is at stake in Faye’s work – especially the duet You’re Me – is a question of how far the performance of self can be extended. What kind of radical intervention could

  • February 19, 2013

    Chinese Classical Dance VS. Peking Opera

    By Published On: February 19th, 2013

    Peking opera is a form of traditional Chinese theater which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th century and became fully developed by the mid-19 century. At the beginning of establishment of Communist China in 1949, China is alike an old and tattered house in which all basic

  • February 18, 2013

    Why dance?

    By Published On: February 18th, 2013

    As I tackle multiple projects at the same time, feeling the anxiety of deadlines, reaching for my own expectations of greatness, and fighting the apprehension of failure, I have come back to the fundamental question for me: Why dance? Why the heck would anyone give up luxury, money, fancy job titles, and above all laziness and

  • February 15, 2013

    Twinship, Sameness, Biology: A Hypothesis

    By Published On: February 15th, 2013

    Watch me. Watch me. In your imitation is the attention I crave. “He’s going to feel watched.” “He’s going to seek my approval.” “He thought about how space is anything but neutral.”   What does it mean to be identical to someone else? Oskar Stohr and Jack Yufe are identical twins who were separated shortly

  • February 13, 2013

    Symptomatic (Writing the Movement)

    By Published On: February 13th, 2013

    He’s going to say something. He moves his lips in front of the microphone. He adjusts. He adjusts again. At the back of the space the other dancer is moving in position. He stands up, walks to the front. Then they are both standing alert. Still. Breathing. Then break. Shadows against the white paper. Copy