Q: Do you expect your work to have legs - is there life after LA/Fringe, or is most of what is created for the festival destined to be seen only on the Fringe circuit?
A: We are already planning on touring Dances for the Naked Eye to the Dance Complex in Cambridge, Mass., in late October. We'd love to possibly perform at Simon's Rock College in western Massachusetts, and we'll also have a series of workshops and a performance at Swarthmore College this year.
Aside from those plans, we are excited to finally be working on Green Chair year-round and look forward to pursuing lots of new projects, experimenting, and hosting regular showings of our dances even as they are in progress.
Q: What's the primary source of your concepts - music, literature, geopolitics, personal experience, global tragedies?
A: We are primarily interested in physical interactions and the relationships and reactions between performers. For Dances for the Naked Eye, we played a lot with games and improvisation to create choreographic material. Also, in classic Green Chair style, we worked a lot by trial and error. For example, someone will have an amazing idea, such as "what if we could all lift each other at the same time?" and then we test out crazy ways of making it happen.
Q: How much does funding influence your choice of subject? Do you find that fear of losing it dampens the political choices you make in your work?
A: Funding isn't a big influence for us right now. We will start the process of obtaining non-profit status this fall, but currently we are not operating under any direct-financing grants. We've been fortunate enough to be supported for the last few years by the Swarthmore Project in Theater, which offers us rehearsal space and housing for the summer, and thus the space and time to create freely.
Q: Is having an edge of political, social or community-based change important to your work, or is your sole goal the artistic outcome?
