An evening length work, Soul+Mates is an immersive dance performance experience utilizing photography and film that explores longing, love, and its longevity in our 21st century reality through visceral contemporary dance. Stacey Printz, with her company of twelve dancers (Jenni Bregman, Louis Acquisto, Jorge Vazquez, Suzy Myre, Dudley Flores, Amanda Lacro, Katie Wong, Sadie Carhart, Jesse Chin, Nhan Ho, Nina Fischer) invites the audience to ponder and debate the romanticism and realism that surround the notion of finding “the one”.
The audience is beckoned from the moment they enter the building until they are implicated in the conclusion of the story. The experience begins in the lobby of the theater with a photo essay by Andre Hermann. In this black and white photo exhibit, couples from different ends of the “soul mate” spectrum are on display as captured on a white couch. The journey continues as people see a running loop of a film installation by Teresa Brazen, that integrates clips of people sitting on the white couch discussing this topic with clips of “body-language” close-ups. Then, before entering the theater, audience members may choose to be photographed on the same white couch, with their raw polaroid images instantly being pegged to an art board that in turn is part of the exhibit and experience.
Once in the theater, the dance performance begins. It utilizes a grand set, designed by master rigger Sean Riley which consists of a series of sliding and moveable panels referencing mazes and labyrinths, old library ladders and hidden passageways. The set serves to enhance and enable the dancers, utilizing contemporary-fusion style, to create the palpable experience of forbidden love, quick lust, and deep connections. The set allows the story to unfold in a cinematic way, where the audience is invested in the story from beginning to end. Music selections will be threaded together with original compositions to create a seamless soundtrack by collaborator Matthew Kratz (Kraddy). David Szlasa will design the lights.
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The audience is beckoned from the moment they enter the building until they are implicated in the conclusion of the story. The experience begins in the lobby of the theater with a photo essay by Andre Hermann. In this black and white photo exhibit, couples from different ends of the “soul mate” spectrum are on display as captured on a white couch. The journey continues as people see a running loop of a film installation by Teresa Brazen, that integrates clips of people sitting on the white couch discussing this topic with clips of “body-language” close-ups. Then, before entering the theater, audience members may choose to be photographed on the same white couch, with their raw polaroid images instantly being pegged to an art board that in turn is part of the exhibit and experience.
Once in the theater, the dance performance begins. It utilizes a grand set, designed by master rigger Sean Riley which consists of a series of sliding and moveable panels referencing mazes and labyrinths, old library ladders and hidden passageways. The set serves to enhance and enable the dancers, utilizing contemporary-fusion style, to create the palpable experience of forbidden love, quick lust, and deep connections. The set allows the story to unfold in a cinematic way, where the audience is invested in the story from beginning to end. Music selections will be threaded together with original compositions to create a seamless soundtrack by collaborator Matthew Kratz (Kraddy). David Szlasa will design the lights.
An evening length work, Soul+Mates is an immersive dance performance experience utilizing photography and film that explores longing, love, and its longevity in our 21st century reality through visceral contemporary dance. Stacey Printz, with her company of twelve dancers (Jenni Bregman, Louis Acquisto, Jorge Vazquez, Suzy Myre, Dudley Flores, Amanda Lacro, Katie Wong, Sadie Carhart, Jesse Chin, Nhan Ho, Nina Fischer) invites the audience to ponder and debate the romanticism and realism that surround the notion of finding “the one”.
The audience is beckoned from the moment they enter the building until they are implicated in the conclusion of the story. The experience begins in the lobby of the theater with a photo essay by Andre Hermann. In this black and white photo exhibit, couples from different ends of the “soul mate” spectrum are on display as captured on a white couch. The journey continues as people see a running loop of a film installation by Teresa Brazen, that integrates clips of people sitting on the white couch discussing this topic with clips of “body-language” close-ups. Then, before entering the theater, audience members may choose to be photographed on the same white couch, with their raw polaroid images instantly being pegged to an art board that in turn is part of the exhibit and experience.
Once in the theater, the dance performance begins. It utilizes a grand set, designed by master rigger Sean Riley which consists of a series of sliding and moveable panels referencing mazes and labyrinths, old library ladders and hidden passageways. The set serves to enhance and enable the dancers, utilizing contemporary-fusion style, to create the palpable experience of forbidden love, quick lust, and deep connections. The set allows the story to unfold in a cinematic way, where the audience is invested in the story from beginning to end. Music selections will be threaded together with original compositions to create a seamless soundtrack by collaborator Matthew Kratz (Kraddy). David Szlasa will design the lights.
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The audience is beckoned from the moment they enter the building until they are implicated in the conclusion of the story. The experience begins in the lobby of the theater with a photo essay by Andre Hermann. In this black and white photo exhibit, couples from different ends of the “soul mate” spectrum are on display as captured on a white couch. The journey continues as people see a running loop of a film installation by Teresa Brazen, that integrates clips of people sitting on the white couch discussing this topic with clips of “body-language” close-ups. Then, before entering the theater, audience members may choose to be photographed on the same white couch, with their raw polaroid images instantly being pegged to an art board that in turn is part of the exhibit and experience.
Once in the theater, the dance performance begins. It utilizes a grand set, designed by master rigger Sean Riley which consists of a series of sliding and moveable panels referencing mazes and labyrinths, old library ladders and hidden passageways. The set serves to enhance and enable the dancers, utilizing contemporary-fusion style, to create the palpable experience of forbidden love, quick lust, and deep connections. The set allows the story to unfold in a cinematic way, where the audience is invested in the story from beginning to end. Music selections will be threaded together with original compositions to create a seamless soundtrack by collaborator Matthew Kratz (Kraddy). David Szlasa will design the lights.
show less
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450 Florida Street, San Francisco, CA 94110
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