Dance
Dance Biography
Since arriving in Berkeley in 1998, I have presented my choreography in the Works in the Works series in Berkeley; in Pilot 36 at ODC Dance, San Francisco; at the Julia Morgan Theater in Berkeley, in the "Plugged In" series at the University of California at Berkeley; and a commissioned solo at the Unitarian Universalist Church, Oakland. As a member of Nina Haft and Company, I developed roles in "The Making of Americans," 2001, and "Mit a Bing, Mit a Boom! A Klezmer Dance," 2003. I have also performed in the work of Carol Kueffer, Cathy Davalos and Sima Belmar in Oakland and San Francisco. I occasionally substitute teach advanced and beginner adult modern dance classes at Shawl-Anderson Dance Studio in Berkeley.
Video of "Periodicity"
View 6-minute video of "Periodicity" dance performance:
Click here: Periodicity.mov (10 MB)
Script for "Periodicity"
(humming a waltz, with interruptions) Safety! Comfort! Confidence!
Protection!
No pins, no pads, no belts (repeated 4x, getting more excited)
Confidence!
(pull legs together) Everyone must see, everyone must know!
I don't know if anyone _actually_ knew.
Stay... (cartwheel)... Free!
(Drop the tampon) Everyone must see, everyone must know!
I don't like people knowing.
(slide to the floor) Confidence! Safety!
I keep it as discreet... as possible. (hiding tampon many ways)
As discreet... as possible. (repeat 2x)
I keep it as discreet... as possible. I don't like people knowing.
It's this normal biological function. Half the population goes through it. Deal!
It's this normal, biological function. Half the population goes through
It's this normal, biological function, Function, half the, Function, half the population goes
Normal, biologic, Biological function, Function, half the popu, Half the population goes, Lation goes through Through it. Deal!
Biological, Normal, Function, half the
Deal!
Population goes, Normal, biologic
Deal!
Logical function, half the population
Deal!
It's this normal, biological function, half the, Function half the,
Function half the, Function half the,
Deal!
(humming waltz, into Habanera from Carmen, with fencing)
It's this normal, biological function. Half the population goes through it. Deal!
It's this normal, biological function. Half the population goes through
It's this normal, biological function, Function, half the, Function, half the population goes
Normal, biologic, Biological function, Function, half the popu, Half the population goes, Lation goes through Through it. Deal!
Biological, Normal, Function, half the
Deal!
Population goes, Normal, biologic
Deal!
Logical function, half the population
Deal!
It's this normal, biological function, half the, Function half the, Function half the, Function half the,
Deal!
Photos of "Communion"
Click on these thumbnails to view them in the full-sized photo album:
Review of "Communion"
Pilot 36: Interplay
ODC Performance Gallery, San Francisco, CA
December 11, 2001
Reviewed by Lisa Claybaugh
Choreographers: Heidi Schweiker, Heather Rafferty, Tatjana Loh, Martt Lawrence, Lara Freidenfelds, Private Freeman
For those of you unfamiliar with the ODC Pilot Program, it is series of concerts co-produced by the ODC Theater and School to help emerging choreographers produce their work...
Lara Freidenfelds is a PhD candidate at Harvard University. Her academic background tends to come out in her work, which is well structured and intellectual. The trio Communion she made for this program explored the physical manifestation of Catholic worship. The subject matter could have been oppressive and preachy or clichéd and insipid, but turned out to be beautifully ecstatic and a joy to watch. There was a simplicity and ease that was missing from the previous pieces. The three singers on stage, who offered a wonderful clarity of tone in the complicated vocal score, were distracting. Private Freeman also used a musician on stage, but he was a part of the dancing. These three women spent most of the dance trying to ignore what was happening. I would have preferred to have them placed just off the front of the stage. The score was a commissioned work based on a piece by Hildegard of Bingen, who seems to have inspired some of the movement as well. Ms. Freidenfelds has a wonderful sense of effortlessness in her choreography, but it would be nice to see her challenge her dancers a little more technically without losing that which makes her work special.
Source: http://www.criticaldance.com/reviews/2001/pilot-odc_011211.html