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The Body Electric: Cathy Weis at Dance Theatre Workshop

The Body Electric: Cathy Weis at Dance Theatre Workshop THE BODY ELECTRIC Cathy Weis at Dance Theatre Workshop Jennifer Parker-Starbuck Electric Haiku, conceived and choreographed by Cathy Weis, performed by Scott Heron, Zane Frazer, Ksenia Vidyaykina, and Parnell Klug, sound design by Steve Hamilton, animation by Phil Marden, interactive media design by Ruben Puentedura; An Abondanza in the Air, Lisa Nelson and Cathy Weis. Dance Theatre Workshop, New York, November–December 2002. here is always an element of memory in Cathy Weis’s work. As she and her work mature, elements of past pieces re-appear and are recycled, juxtaposed against an increasing clarity and with a sharpened eye towards the integration of video on stage. The pre-show for Haiku and Abondanza sets a humorous tone as Weis and set designer Jonathan Berger yell and scream, roll down stairs, and clumsily appear on stage to chastise and warn the audience to turn off their cell phones. Weis, elegantly dressed in a little black dress, wearing her leg brace and with an elaborate upswept hairdo/ wig, hooks up her now familiar puppet Doppelgänger body to a TV monitor projecting her videotaped face; for those of us who have followed Weis’s work over the years, this cyborgian puppet is symbolic of the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

The Body Electric: Cathy Weis at Dance Theatre Workshop

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Publisher
MIT Press
Copyright
© 2003 Performing Arts Journal, Inc.
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/152028103321781619
Publisher site
See Article on Publisher Site

Abstract

THE BODY ELECTRIC Cathy Weis at Dance Theatre Workshop Jennifer Parker-Starbuck Electric Haiku, conceived and choreographed by Cathy Weis, performed by Scott Heron, Zane Frazer, Ksenia Vidyaykina, and Parnell Klug, sound design by Steve Hamilton, animation by Phil Marden, interactive media design by Ruben Puentedura; An Abondanza in the Air, Lisa Nelson and Cathy Weis. Dance Theatre Workshop, New York, November–December 2002. here is always an element of memory in Cathy Weis’s work. As she and her work mature, elements of past pieces re-appear and are recycled, juxtaposed against an increasing clarity and with a sharpened eye towards the integration of video on stage. The pre-show for Haiku and Abondanza sets a humorous tone as Weis and set designer Jonathan Berger yell and scream, roll down stairs, and clumsily appear on stage to chastise and warn the audience to turn off their cell phones. Weis, elegantly dressed in a little black dress, wearing her leg brace and with an elaborate upswept hairdo/ wig, hooks up her now familiar puppet Doppelgänger body to a TV monitor projecting her videotaped face; for those of us who have followed Weis’s work over the years, this cyborgian puppet is symbolic of the

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: May 1, 2003

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