Kyle Dacuyan + Antigravity Performance Project
September 10-October 4
Flexible Run Time
Access a user-navigated digital art installation featuring poetry readings, movement, meditation, and sensory experiences as Antigravity Performance Project invite you to an orbital adventure through work and pleasure. Legal Tender is an assemblage of multi-media performance, video, and text material drawing across a yearlong collaborative devising practice, its marginalia, and postscript.
Originally conceived as an episodic duet of movement and poetry, a first performance work was created exploring the relationships between information, consumer culture, labor, and borders – drawing attention to our eroding news and media environments, and the places where fact, opinion, and falsehood settle unconsciously.
Postponed due to the COVID-19 pandemic, and inflected in new ways with our more fully digital and remote present tense, an expanded field of poetry reading, video pieces, movement, and sound work has been created, deepening these themes against the backdrop of shifting and uncertain time.
Poet Kyle Dacuyan, in collaboration with Antigravity Performance Project, movement artists Andalyn Young and Chelsea Murphy, and visual artist Kate Liebman present this new range of work in collaboratively-designed digital studio, with a live program featuring poems, meditations, and movement oriented around pleasure, flux, and connection.
FringeArts is thrilled to include artists originally slated to present new works in our High Pressure Fire Service Festival this spring within the Fringe Festival this year. These artists were all faced with the unexpected consequences of COVID-19 that hit in the midst of rehearsal processes and just weeks away from premieres. In its wake there has been a complicated loss and grappling with how, why, and in what way to continue making work. Each artist has approached the opportunity to present work this fall differently–some crafting completely new pieces, others adapting materials and processes from their original plans for the spring–and all of them have crafted experiences that are timely, relevant, and poignant in the continued space of the pandemic. We are inspired by the ways these artists have adapted and continue to remind us of the importance of art as a means to contend with, reflect upon, and move through the world together. We hope you’ll engage with their work throughout the Fringe Festival and join us for a conversation with the cohort on Sunday, October 4 to talk about their unexpected transition, how they are grappling with the grief, and how they envision the future.
Digital Salon: Thursday, Sept 17 at 7pm
Digital Salon: Sunday, Sept 20 at 3pm
Additional content available to access during the Festival
About the Artists
Kyle Dacuyan (writer/performer) is a poet, performance-maker, and the Executive Director of The Poetry Project at St. Mark’s. Recent poems appear or are forthcoming in Ambit, DIAGRAM, Lambda Literary, and Social Text, among other places, and he has presented performance at Ars Nova, Cloud City, FringeArts Philadelphia, The Institute on the Arts and Civic Dialogue, and Poesiefestival Berlin. He is the recipient of scholarships, awards, and support from The Bread Loaf Writers’ Conference, Poets House, The Academy of American Poets, Best New Poets, and the Sewanee Writers’ Conference.
Andalyn Young (creator/performer) is a performance-maker based in Philadelphia, PA. She has worked as a performer, director, and choreographer with companies including Pig Iron Theatre Company, Nichole Canuso Dance Company, and The Eva Steinmetz Project. Outside Philadelphia, she has co-created and performed original work in the Czech Republic, Croatia, Belgium, London, Seattle, Boston, and New York. She has been the recipient of a solo artist residency at Arteles Creative Center (Finland) and collaborative residencies at The Museum of Broken Relationships (Croatia), The Orchard Project (NY), and Maggie Allesee National Center for Choreography (FL).
Francesca Montanile Lyons (director) is a director, performer, avid doodler, and educator living in Philadelphia. Her work seeks to disempower shame through radical honesty and voyeuristic delight. Francesca is Co-Artistic Director of Antigravity Performance Project, a tristate devising company that makes original performance with non-theatrical texts. She conceived of, wrote, and directed Dear Diary LOL, a play made with the words of real-life diaries of teenage girls in the late 90s/early 2000s, which premiered in the 2017 Philadelphia Fringe Festival, followed by a run at FringeArts and two runs at the New Ohio in NYC in 2018. She performs as The Sprite (a buffon-inspired pixie character) and with Girl Poop, a “delightfully weird” femme foursome specializing in Pussy Pop Rock. Other credits include directing All 100 Fires by Donna Oblongata (2019 National Tour), Fourth Quarter (First Person Arts Festival 2018), and Rough & Tumble by Lillian Ransijn (2018), as well as performing/co-creating The Hopefuls (a satirical punk-clown band, 2016), Slaughter/ette (2015), and Nellie/Nellie (2014). MFA in Devised Performance from UArts/Pig Iron School (2016). BA in Theatre Arts & Performance Studies from Brown U (2011). Girl Poop: @girlp00p; Illustrations: @fmldrawsbutts.
Michael T. Williams (director) is a queer-identified devised and ensemble theatre artist – part director, performer, and educator. Driven by visual storytelling and original scores, his work explores the marriage of the divine and the profane, unreliable first person narratives, and the healing capacity of community. Michael is an Assistant Professor of the Practice in the Theater and Performance Studies Program at Georgetown University. With his collective – Antigravity Performance Project – and solo Michael has worked with: FringeArts, La MaMa ETC, Williamstown Theatre Festival, Pig Iron Theatre Company, Soho Rep, Trinity Rep, Winged Cranes Productions (Madrid), El Reló (Madrid), Blood from a Turnip, AS220, Sleeping Weazel, and in Arena Stage’s Downstairs Series for New Work and Voices of Now Festival. His original performance works have been presented at Ars Nova, FringeArts, Ice Factory Festival, New Ohio Theatre, and at Haverford College through the Center for Peace and Global Citizenship. MFA in Devised Performance, University of the Arts/Pig Iron Theatre Company. BA in Theatre Arts and Education Policy, Brown University.
Chelsea Murphy (choreographer) graduated from Goucher College in 2012 with a degree in dance and psychology. She wanted to find a community that supported a conversation between dance and theater, which led her to Philadelphia. She attended the Headlong Performance Institute where she met Magdalene San Millan. For the next 5 years they worked together creating feminist, pleasure/shame driven work including “The Vulgar Early Works” (presented by JACK & FringeArts in 2014) and “The Shame Symposium” (presented by FringeArts in 2016) as well as pieces performed at Joe’s Pub in NYC presented by DanceNOW. She was last seen on stage in Pig Iron’s premiere of Superterranean in the 2019 Fringe Festival. Currently, she works with Lily Kind as a member of the Wolfthicket, choreographs various projects around town and likes to play with photography and performance.
Kate Liebman (video/projection) is a visual artist and writer based in New York City. Her work has been shown in galleries and museums both nationally and internationally, including the International Print Center of New York and the Museum of Contemporary Art in Novi Sad, Serbia. She has been a resident at the Vermont Studio Center (2015) and Andrea Zittel’s AZ West program in Joshua Tree, California (2018), and has received fellowships from The Helen Frankenthaler Foundation, Yale University, and Columbia University, where she recently finished her MFA (May 2019). Her writing has appeared in the Brooklyn Rail and the New Criterion. She is currently working on a book and making paintings of the sky. @kateliebman
Legal Tender was developed in part at Bethany Arts Community and through the Camp Fringe residency supported by Independence Foundation. An initial iteration of this work was presented at Ars Nova’s ANT Fest in June 2019. Production at FringeArts supported in part by the Charlotte Cushman Foundation and Georgetown University’s Competitive Grant-in-Aid Research Program.
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