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Cari Ann Shim Sham (Video) is a filmmaker, choreographer, writer and educator who makes short and feature length cinema that pushes the boundaries of moving images.  She works in the mediums of Experimental Short Film, Installation, Documentary film and Dance for Camera.  Amongst Cari Ann's awards are Best Director from the First Glance Film Festival and Best Mini Doc from the St. Louis International Film Festival, as well as Best Short Documentary from the Oxford Film Festival and a Special Mention Award from Dance Camera West for her newest film SAND which received Official Selection by the Austin Film Festival in 2010 and the Tallahassee Film Festival in 2011. She's also earned a Silver Create award for Production/Post Production for Are you for real?, the Jumping Frames 2008 Dance Video Award for Delicious Tree, two Telly Awards for My Big Break, and a Jury Shorts Award from Cinedans for Are you for real?. In addition, she was a finalist at Jumping Frames for Are you for real? and for SAND.  Cari Ann Shim Sham* served as the chair of the Dance Department at The Culver City Academy of Visual & Performing Arts from 2000-2007 and as Artistic Director of Bitch Co. from 1995-2001; an all female dance theater company, performing feminist based protest art extensively throughout the underground Los Angeles Art Gallery and Rave scene. She has a BA and MFA in Choreography from the UCLA World Arts and Cultures Department.

d. Sabela grimes (Sound) aka Ovasoul7 is a multi-hyphenate artist and educator whose work transforms speech and sound into a visual performance with movement that is electric on transmission.  In 1997, Sabela joined Rennie Harris Puremovement (RHPM). During his tenure with RHPM, Sabela served as principal dancer and the company’s Education/Outreach Coordinator.  He co-wrote the script and composed two songs for RHPM's award winning production Rome and Jewels.  Since working with RHPM, Sabela has conceived, written, scored, choreographed and presented several dance theater works, Philly XP, World War WhatEver, and 40 Acres & A Microchip: Salvation or Servitude from his EXPERIMENT EARTH sound-movement triptych, and BULLETPROOF DELI an evening length solo work.  Proactively seeking to expand beyond contemporary notions of Hip Hop culture and aesthetics, Sabela’s work journeys through the current future of the present past and the corrugated spaces of many incarnations.  Each creative offering is a familiar ritual, a conscious spectacle, the stillest rumination.  In addition to his own work, Sabela has functioned as composer/sound designer for Victoria Marks’ Medium Big Inefficient Considerably Imbalanced Dance and is currently composing for Baker & Tarpaga Dance Project’s, Whiteness Revisited.

Christopher Kuhl (Lighting) is a lighting, scenic, installation and conceptual designer for new performance, theatre, dance and opera. Recent work includes ABACUS. Early Morning Opera(Sundance Film Festival, EMPAC Troy NY); John Cage Song Books (SF Symphony, Carnegie Hall), Under Polaris. Cloud Eye Control(REDCAT, EXIT Festival Paris, Fusebox Festival Austin); Watch her not know it now. Meg Wolfe (REDCAT); Tov. Rosanna Gamson. Horton Award. (REDCAT); There is an Elephant in this Dance. Lionel Popkin (REDCAT); Monster. Pappas and Dancers(UCLA); The Elephant Room. Rainpan 43 (Philly Live Arts, Arena Stage, St. Anns Warehouse), Motherhood Out Loud (Primary Stages, The Geffen); How to Completely Disappear. Ovation Award Nomination (Boston Court Theatre); The Author, Eclipsed (Center Theatre Group); Model Behavior, Monster of Happiness. Ovation Award Nomination (Theatre Movement Bazaar); Everyone Who Looks Like You, Uncanny Valley, Undine, My Mind Is Like A Open Meadow, (Hand2Mouth Theatre), Into The Dark Unknown (Holcombe Waller). Lighting Director for Ralph Lemon How Can You Stay in the House All Day and Not Go Anywhere; Victoria Marks Not about Iraq, David Rousseve Saudade. Chris has also had the pleasure of working and making art at REDCAT, On the Boards, The Walker, UCLA Live, BAM, Jacob's Pillow, The Krannert Center, YBCA, Portland Center Stage, Hartford Stage, Dallas Theatre Center, Los Angeles Opera, Santa Fe Opera, Beijing Music Festival, Queer Zagreb, MAC France, Reed Collage, Columbia College and Duke University. Chris is originally from New Mexico and a graduate of Calarts.

Leah Piehl (Costumes) has been extremely active in the Los Angeles and New York film, theater and dance communities. This is her second collaboration with David Roussève. Some of her recent credits include The Borrowers (South Coast Repertory), The Dinosaur Within (The Theatre at Boston Court), FULL.STILL HUNGRY (Ford Amphitheatre, Contra Tiempo), Moscow, Cherry Town (Long Beach Opera), The Eccentricities of a Nightingale (A Noise Within), Satyr Atlas (The Getty Villa), Futura (The Theatre at Boston Court, Pasadena), The Winter's Tale (Theater 150, Ojai), Boom (Furious Theater, Los Angeles), Paradise Lost (Intiman Theater, Seattle), Men of Tortuga (Furious Theater, Los Angeles), BobRauschenbergAmerica (The Theater Inside the Ford, Los Angeles), Tree (The Theater Inside the Ford, Los Angeles), Saudade (UCLA Live, David Roussève), The Pain and the Itch (The Theatre at Boston Court, Pasadena), Monster (Judson Memorial Church, NY), The Wasps (The Lost Theater, Los Angeles), Love Water (Open Fist/EST LA, Los Angeles), Someone in Florida Loves Me (The Paradise Factory Theater, New York), Tartuffe (The Theatre at Boston Court, Pasadena), Miss Julie (Sledgehammer Theater, San Diego), Robots vs. Fake Robots (The Powerhouse Theater, Santa Monica), The Boomerang Kid (The Powerhouse Theater, Santa Monica), Big Death and Little Death (The Road Theater, North Hollywood), The Best Man, (East West Players, David Henry Hwang Theatre, LA), No Mercy (24th Street Theatre, LA), Michele Vinaver’s 911 (REDCAT, Frictions Festival Dijon, Théatre National de la Colline in Paris), Erik Ehn’s Medusachrist (REDCAT) and Bull Spears (La Tea Theater, NYC; Sledgehammer Theater, San Diego). Leah maintains ongoing collaborations with several choreographers including Contra Tiempo, Kate Hutter, Mira Kingsley, Kristen Smiarowski, Rebecca Pappas, and Colin Connor.  Leah currently teaches at the University of Southern California. She has her BA in Political Economy of Industrial Societies from the University of California at Berkeley (Summa Cum Laude, Phi Beta Kappa). She also studied at the University of Padova, Italy. Leah received her MFA in Theater from CalArts in 2006.

Lucy Mae San Pablo Burns (Dramaturg) is at work on plays-in-progress including Cindy Garcia's How to Make it to the Dance Floor: A Salsa Guide for Women (Based on Actual Experiences) and R. Zamora Linmark's But, Beautiful. She was a dramaturg for TeAda Productions' Native Immigrant, a community-based theatrical creation conceived and written by Leilani Chan. She is a consultant for various arts advocacy projects including the Pilipino American Performing Arts Initiative, funded by the Ford Foundation. She works closely with Alleluia Panis and KulArts, Inc, as a member to the San Francisco-based organization's artistic advisory team. Burns began her professional involvement in theater through her work with Roberta Uno, theater director/foundation officer and editor of Unbroken Thread and Contemporary Plays by Women of Color (with Kathy Perkins). She held the positions of Education and Access Coordinator and Literary Manager at New WORLD Theater (1994-1999), in Amherst, Massachusetts. While at NWT, she also assisted in establishing the Uno Archive of Plays by Asian American Women, housed at the WEB DuBois Library at UMass Amherst. Burns earned her doctoral degree in English with an American Studies Concentration at UMass. She co-edited The Color of Theater with Uno, published in 2003.  In 2005, Burns joined the Asian American Studies Department at UCLA. Her book, Puro Arte: Filipinos on the United Stages of Empire is forthcoming with NYU Press (2012).

 

photo: Yi-Chun Wu

 

 

 

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