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“Treading” / 2009 Looks at the overwhelming sense of confusion and uncertainty when at a crossroad in life. As a new mother, Printz is in the process of re-defining her role in the world – in dance, in relationships, in daily activities all while being sleep-deprived and tackling the joys and challenges of parenting. In turn, it leaves a sense of treading – of moving quickly to stay afloat, while not really knowing what direction you are moving to. “Treading” is also, at its core, an unadulterated movement piece. Athletic, fast, detailed and spatially challenging, the work aims to show frenzy while still somehow avoiding collision and still maintaining some sense of order. For this dance, Printz is working in a fast, rhythmically fierce 5/4 time signature, further adding to its complexity While this piece does have a concept for its jumping off point, “Treading” also strives to be upbeat, slightly wild, pure dance. |
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"Birds, Bees and Other Metaphors" / 2007 “…by learning more about animals and their mode of thought, if it exists, we learn more about ourselves” –The Queen Must Die and Other Affairs of Bees and Men Honey bees are used as a metaphor for human patterns, habits and instincts. Stacey’s fascination with science and more specifically biology lead to researching bees, and ultimately uncovered a jumping off point for this piece. Passages from books such as “The Queen Must Die and Other Affairs of Bees and Men” were brought to the studio and used as instigators for movement development. Length: 12 minutes Number of Performers: 6 |
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"Duality" / 2002 (re-worked 2007) This piece was originally created in a rough form in 2002, but was set aside until now. In this newly revised work the concept of Yin and Yang are explored. In Chinese philosophy Yin and Yang are seen as two opposing but complimentary forces found in all things. Yin and yang do not exclude one another, and in fact are interdependent – thus the balancing act of the two sides is key. Composer Daniel Berkman offers his lush musical take on the concept. |
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"Beat Sequitur " / 2006-2007 Collaborative work by choreographer Stacey Printz, and beatboxer Carlos (Infinite) Aguirre. In developing this piece, the artists researched the seemingly disparate musical techniques, time signatures, and core musical undertones of three cultures with the hypothesis that there are common threads musically linking these cultures and the urban American music of beatboxing. Length: 13-15 minutes Number of Performers: 8 + musician |
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"Finding The Morning " / 2006 Inspired by the choreographer’s recent journey – a journey of emergency, injury and recovery. From fear, frustration and anger to optimism, gratitude, and confrontation of the future, the dance investigates the process of re-defining oneself in the wake of loss and change, charting a new physical reality. Length: 14 minutes / Number of Performers: 7-8 |
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"Viewpoints" / 2006 The amount of space we have alters the way in which we interact with each other and our surroundings. Wide open landscapes evoke one response while confined, man-made environments evoke another. In this new piece, Printz will explore the impact of those contrasting “viewpoints”. How do we interact with the landscapes of life, both visual and emotional, when the magnifying glass is expanded or contracted? Performed to live and recorded music by special guest, sarode player and composer Kenny Annis. Length: 13 minutes / Number of Performers: 6 |
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"Dark
Spaces" / 2004-2005 This modular work is a series of five mix and match vignettes–- Independent of one another, they are snapshots of what takes place either physically or mentally in the dark spaces of people’s private late night moments. – Sometimes intimate, sometimes dark, sometimes mundane. The music is a blend of dark contemporary pop, such as Love and Rockets intermixed with a new composition by local composer and past PDP collaborator Matthew Kratz. Length: Each vignette approx. 5-6 minutes. (2-4 per concert) Number of Dancers: 1-3 |
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“Surfacing”
/ 2004 This collaboration between Stacey Printz (choreography), Kraddy (music), Felonious (beat boxing/rapping) and Mike Delano (video) began as a series of interviews conducted with teens on topics that effect youth on a regular basis: How are you perceived? How do you wish you were perceived? What do you wish people knew about you? How are teens viewed in society? How should they be viewed? After compiling their insightful responses we abstracted the concept, utilizing their voices as the jumping off point for our collaborative work. The videotape, edited by Michael Delano, abstracts the essence of the teen’s sentiment and is projected on a large metal-framed screen that can be rotated during the performance allowing dancers to be hidden and revealed. The talented SF based group Felonious are integrated into the staging of the piece, performing live beat boxing / rapping with lyrics that are closely tied to the content of the videotape. Length: 16 minutes / Number of Performers: 7-8 |
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“Urban
Primates” / 2005 This piece is based on the notion that although human beings believe they are “advanced”, their habits and lifestyles expose their connection to their primal and animal roots. This piece will serve as a partner piece (prequel) to the PDP audience favorite “0-10 in 17” (2002) - The work includes a set piece of three metal ramps that are connected – with the center serving as a “pit” that the dancers can fall into. The set developed by Shawn Westerhoff is made of interlocking scaffolding and encourages various choreographic images of primates juxtaposed with Homo sapiens. Length: 12 minutes / Number of Dancers: 6 |
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“SHIFT”
/ 2003 Change is often looked at as “good” or “bad”. In “Shift” Printz explores the idea that two paths can be equally fulfilling, yet will have your life unfolding in very different ways - Nervous energy, and fear can give way to true exploration. - And sometimes it is the act of simply making a change that can ignite curiosity and growth enabling people to step out of the monotony, repetition and staleness of daily routines. Length: 11 minutes / Number of Dancers: 4 |
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“Evolute”
/ 2003 At the core of this work is the Nautilus: a spirally coiled, chambered shell that on the one hand is a simple natural form that is often looked at in relation to evolution, and on the other hand represents a perfect mathematical proportion that has been used in many studies of the Golden Section. A giant Nautilus sculpture is primary to the piece, enabling the dancers to explore the actual spirals, and curvature of the form, while touching on concepts of personal development and growth. Length: 12 minutes / Number of Dancers: 5 |
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“0
–10 in 17” / 2002 Is a hard core, fast paced piece about Western Society’s ever growing assumption that: more + faster = better. It opens like a human race with a duet-taking place in two “lanes” on the stage. This exhausting section is followed by a group of “society zombies” who go through the motions of trying to keep up with the fast paced grind. The third movement ups the anti as dancers zing, and skid across the stage in costumes that are embedded with wheels – enabling them to roll on various body parts. The piece seeks a calmer resolution in the final movement. Length: 17 minutes / Number of Dancers: 8 |
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“Inside
Out” / 2002 This dance is a very personal solo-created by/for the choreographer during a time in her life filled with life choices and change. Length: 5.5 minutes / Number of Dancers: 1 |
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“From
These Mountains” / 2001 Hawaiian gesture, and familial relationships are at the root of this three-part dance. Length: 9 minutes / Number of Dancers: 4 |
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“L7”
/ 2001 A hard-edged, raw dance that explores the repercussions of one’s own closed minded, prejudiced attitudes. Synthesized music by San Francisco composer Mathew Kratz, and a set piece of two 6 by 8 foot plexi glass boxes work to define the piece. Length: 7.5 minutes / Number of Dancers: 6 |
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“People
on Streets” / 2003 For this piece, Printz has added 6 dancers to her company to create a 14-person group work that studies pedestrians on busy streets. In looking down, from the tall buildings of San Francisco, one sees unaware pedestrians creating intricate patterns and random interactions that unknowingly create choreography and often fleeting human connections. Slides of Leslie Lusardi’s paintings on the same topic will be projected, while costume designer James Meyer will add his view with “disjointed” pedestrian clothing. Length: 13.20 minutes / Number of Dancers: 12-14 |
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“Movement
in G Minor and F Major” / 2001 This uplifting dance was choreographed to simply express the joy, life and movement found in two short Vivaldi concertos. The music will be performed live on stage (including the lovely, not often performed harpsichord) as each dancer and instrument unites. Length: 7.25 minutes / Number of Dancers: 5 |
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“First
Duet” / 2001 |
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“Swimming”
/ 2001 Uses water, at times peaceful and calm, at times tumultuous as a metaphor for life. Length: 11 minutes / Number of Dancers: 5 |
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“Lifeline”
/ 2000 “Lifeline” looks at the process we go through when making life choices about our interaction and relationship to others. The dance happens in five short movements, with music written especially for the piece by Bruce Munson. Stretched shock chord is used both as a set and prop in various movements creating dissected spatial elements, tension, and limitations. Length: / Number of Dancers: 7-8 |
