METALBODY is a dance-theater piece that combines movement, poetry/literary arts, electronic music, and scenic design to transport audiences into a world where 4 women rule. These 4 women have created their own political structure that questions, empowers, and reimagines democracy. MB follows each performer as they become superheroes of their organizational structure- they are leaders, supporters, rebels, ecstatic, tragic, and invincible.
P A S T W O R K
Displace Engine centers itself around absences created by displacement and disassociation, elliptically addressing social issues, scientific and natural processes, and cultural identity, without reducing or literalizing those experiences. Displace Engine utilizes choreographic methods of repetition, instant composition, and variations on kinetic and structural themes; the movement both deconstructs and indulges in sentimentality by romanticizing physical vocabulary over time.
Explores the exploitation of my own work while creating value out of this intrinsically, invaluable time-based form. Costumed, designed and sonically framed with an aesthetic of "sexualized metal" in order to create distance between product and consumer (ie: audience). The research sits in understanding Marxist philosophy of "commodity fetishism," capitalist ideology, and techniques of engineering and physics.
(featuring dancers: erin bishop o'brien, jana capozzoli, rebecca green, tiara jackson, yvonne lacombe, autumn randolph)
© Caitlin H. Adams/2017
Good Mother studies the effects of disassociation on the individual as related to other bodies in space, attempting to answer questions surrounding the growth of disassociation within systems, structures, and processes. With a depersonalized approach, the performers navigate a plane of existence through a taut, mechanical, classically informed vocabulary, framing the dancers as molecules originating from the same complex structure. In chemistry, disassociation is reversible thus dancers are constantly teetering on physical alignment or unison. The work is centered around a duet originally crated with and performed by Erin Bishop O'Brien and Stephen Patterson, also features dancers Autumn Randolph and Charlotte Smith. Good Mother and Displace Engine are currently in process of re-adaptation as one dance theatre piece.
BETWEEN THE CHAMBER, THE CAVITY, YOU,
AND A RECEPTACLE FOR ONE MORE
A multimedia, interdisciplinary series featuring live and virtual performances from more than 20 participants with varied artistic backgrounds. This project is the result of collaborative, leaderless conversations pursued and processed privately between director and participating artists. Performers share space only on nights of presentation. As the series continues, more individuals will become involved, more bodies/lands/countries/states are represented. This project aims to enhance local and global pluralism by magnifying immediate reality and giving total agency to everyone in the space. Through verbal, non verbal and unnamable language, the artists will process and provide lenses into their realities while in dialogue, collision and agreement with shared space and time. Central focus aims to distance the physical and mental body in order to illuminate the intersection of the private and public spheres of the individual. It explores the privacy of the body, striving to locate the language of our anatomical home.
PART 1: DYNASTY CENTER/OCT 2015
PART 2: EXIT OVERLAND/HIGHWAYS PERFORMANCE SPACE (Leo Garcia & Patrick Kennelly Present)
PART 3: EVERYTHING CAN MAKE ME MAD RIGHT NOW, EVERYTHING/REDCAT STUDIO MARCH 2016
w/ BESTFRIENDS(Caitlin Adams + Chelsea Rector)
Full Cast: Erin Bishop-O'brien, Joey Cannizzaro, Camila, Chelsea Conwright, Zach Crumrine, Ariana Daub, Eloise Deluca, Wesley Ensminger, Arne Gjelton, Becca Green, Helena Grierson, Tiara Jackson, Yvonne Lacombe
Pete Laughlin, Kelsey Lanceta, Ryan Masson, Elisabeth Mladenov, Tariq Mitri, Madison Page, Anna Luisa Petrisko, Chelsea Rector, Patrice Roth, Jordan Saenz