these images are written on my body

MDT. Stockholm, Sweden. March 22-23, 2013. *premiere*

Kajsa Sandström -- Primary artist, concept, choreography, and performer.
Kevin Doyle -- direction, development, video/film design, co-audio design, technical director.

Inspired by three female artists active in the Dada movement, 1916-21 (Emmy Hennings, Hannah Höch and Sophie Täuber) Kajsa Sandström has created three inter-connected dance solos. 100 years after the movement, Kajsa investigates processes of “bodily becoming"; how is the body’s relation to the image of the body, and how are immaterial visualities shaping the meeting between the spectator and the performer?

Developed in residence together at: Dansens Hus, Stockholm; Danscentrum Syd, Malmö; and MDT Stockholm, during Fall 2012-Spring 2013.

We worked in November 2012 at Danscentrum Syd (Malmö) and Feb.-March 2013 at MDT. For Part 2, I took aerial shots of choreography & combined it with audio recordings from rehearsals. The aerial shots were re-configured into a video design that offered echoes or previews of gestures and movements on the floor. The recordings of rehearsals were re-played during performance to also offer echoes and previews of the choreography happening live in the space. I directed Parts Two and Three.

Kevin Doyle - writer / director

"THE AЯTS" - world premiere - September 2018 at La MaMa E.T.C. New York, NY

2018-2019 Saari Invited Artist at the Saari Residence. Kone Foundation, Finland

2018 Global Connections IN THE LAB Grant. TCG / Andrew W. Mellon Foundation, USA

2017 Bruntwood Prize for Playwriting Finalist. Royal Exchange Theatre, England

 

"The sting of the playwright's satire is softened only by his gift for comic absurdity." -- THE NEW YORK TIMES

"Hilarious satire of social norms that touches on everything that is wrong with America." -- TIME OUT NEW YORK

"Clearly unafraid to deal with reality, and present it unflinchingly." -- SANTA CRUZ SENTINEL

"Socially critical drama without an accusing finger or a whiny political tone." -- DE MORGEN

"Doyle's clever, sparing use of language recalls Ionesco's best." -- BACKSTAGE

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