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Portfolio of Stage Dances 186 | Portfolio of Stage Dances Woman of the Clear Vision (1975), a dance in which I portrayed both my mother and myself. Photo: Marte Birnbaum. Portfolio of Stage Dances | 187 Memory Gardens with Sally Nash and Jeffrey Janowitz (1976). Designed by Ingrid Crepeau, the giant puppets each required three operators. Photo © 1976 Michael Hauptschein. 188 | Portfolio of Stage Dances Elevator Operators and Other Strangers (1978): Pamela Lasswell, Bob Fogelgren, Colette Yglesias, Jim Patterson, and Marty Belin. To a song called “You’ve Got to Plié,” office workers imagine a different kind of life. Photo: Dennis Deloria. Portfolio of Stage Dances | 189 RSVP (1979): Thelma Tulane and Liz Lerman, with Paul Sarvis and Rima Faber, background. Thelma fulfilled a childhood dream when she became a regular performer in the early days of the Dance Exchange. Though her mother was in vaudeville, her grandmother had forbidden her to dance. Photo: Julie Wiatt. 190 | Portfolio of Stage Dances Journey (1980): Liz Lerman. Using the text “Self-Accusation” by Peter Handke, Journey employed a method called equivalents in which each word is performed with a corresponding movement. This was the movement for “between.” Photo: Anderson Associates. Portfolio of Stage Dances | 191 In the Gallery (1981). Five years after the founding of the Dance Exchange, we were invited to perform at the Kennedy Center for the Performing Arts, where In the Gallery premiered. This dance featured a nude figure model, museum goers, and dancers embodying various aesthetic viewpoints. At the end of the piece an 80-year-old woman disrobes. Photos: Dennis Deloria (top), Dennis L. Albrecht (bottom). 192 | Portfolio of Stage Dances Docudance: Reaganomics (No One Knows What the Numbers Mean) (1982): Liz Lerman, Helen Rea, Bob Fogelgren, and Diane Floyd. In some of my work combining movement and the spoken word, I would speak directly to audience members, acting as an intermediary between them and events on the stage. This was the case with the Docudances, a series of pieces about current events that earned us coverage in the Wall Street Journal and on CBS News and NPR. Photo: Dennis L. Albrecht. Portfolio of Stage Dances | 193 E. Hopper (1984): Jess Rea and Charlie Rother. Visual art and the way that visual artists think has been an inspiration for many choreographers. This piece was based on the work of American painter Edward Hopper. Photo: Deborah Dunnell. 194 | Portfolio of Stage Dances Still Crossing (1986): Jeff Bliss, Beth Davis, Don Zuckerman, Deborah Caplowe; Vanetta Metoyer, Charlie Rother, and Jess Rea on the ground. Commissioned for the centennial celebration of the Statue of Liberty, Still Crossing was premiered with the twilit New York harbor as a backdrop. Photo: Bob Fogelgren. Portfolio of Stage Dances | 195 Sketches from Memory (1987): Seymour Rosen and Don Zuckerman. Working as an intergenerational company opened up many possibilities for narrative and imagery in the Dance Exchange’s work. This was one of several father/son duets I choreographed over the years. Photo: Sally Daniels. 196 | Portfolio of Stage Dances Docudance 1990: Dark Interlude (1990): Thomas Dwyer, Bea Wattenberg, Beth Davis, Boris Willis, and Charlie Rother (clockwise from center). In the wake of funding controversies at the National Endowment for the Arts, we examined the notion of obscenity. Photo: Michon Semon. Portfolio of Stage Dances | 197 The Good Jew? (1991): Naaz Hosseini, Thomas Dwyer, Tom Truss, Amie Dowling, Boris Willis. The Good Jew? initiated a cycle of pieces that examined questions of identity, occupying me through most of the 1990s. Photo: Peter Schweitzer. 198 | Portfolio of Stage Dances Shehechianu: Faith and Science on the Midway (1995): Kimberli Boyd, Bea Wattenberg, and Rome Quezada. We conducted extensive research to evoke some of the events and people of the 1904 St. Louis World’s Fair. Bea Wattenberg portrayed Shifra, the Palestinian Jewess, while Kimberli and Rome reenacted the dance of the Princess Raja, which had been documented on a film that we discovered at the Library of Congress. Photo © Matthew Barrick/Barrick Photography. Portfolio of Stage Dances | 199 Hallelujah/USA (2002). After creating distinctive pieces in fifteen communities across the country with the Hallelujah project, we gathered more than 100 participants to help recreate some of the work’s key segments at the new Clarice Smith Performing Arts Center at the University of Maryland. Photo © Stan Barouh. 200 | Portfolio of Stage Dances Dances at a Cocktail Party was created for the Tampa Bay Performing Arts Center’s American Music Festival 2002: “Bernstein, Broadway, the Bomb-The Age of Anxiety...

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