To pull out Klytaimestra’s gut-fueled desire for justice/revenge, the Greek and Tribal Acting techniques I used with Nisarah were based on actively connecting her body sections and even her organs to her voice of power.
Tea Algeric, as director, and I, as movement coach in the production of AGAMEMNON by AESCHYLUS, translation by Ann Carlson. Costumes by Becky Bodurtha. Photo by Gerry Goodstein. Klytaimestra: Nisarah Lewis
Tea Algeric, as director, and I, as movement coach in the production of AGAMEMNON by AESCHYLUS, translation by Ann Carlson. Costumes by Becky Bodurtha. Photo by Gerry Goodstein. Kassandra: Moira McAuliffe
Kassandra was on stage for much of the play without a word to say to establish her presence. Using techniques I’ve adapted from ancient sources, I coached her to listen with her entire body using breath and unique images as a way to communicate with the audience.
Christine Sang’s Choreography, Open Fist Theater Company, James Joyce’s The Dead
This shows one of the Irish dance sets I adapted as the choreography for The Open Fist Theater Company’s production of Joyce’s “The Dead.” It’s a six-hand jig, which is just that – a dance for six people. Which translates into multitudes of multiples of 6 possible combinations: a choreographer’s dream.
“WAKE THE DEAD” FROM JAMES JOYCE’S THE DEAD.
CHOREOGRAPHER: SANG. PHOTOGRAPHER: ERIC GUTIERREZ.
James Joyce’s THE DEAD, opening Jan 18, 2014.
James Joyce’s THE DEAD Cast, Dress Rehearsal
Dress Rehearsal, with Rob Nagle and Cast, The Dead