“I know exactly what I am doing. I just don’t know what it is.

And if I did, I should stop doing it as I would know too much.

To see what I am doing I can only look back.

I am not dead, and I don’t want to see it”

In “Quite Now,” the dancers are captivated by the immediacy of sensation, of attention in the body leading to action of the body. Drawing from multiple sources of information, intellectual and physical, the dancers attempt to refine the skill of listening to provocations, desire, and delusion and distinguishing between indulging and boredom. Through the work they search for a place of grounding, of coming from. They take time to reach depth. They wait, seeing what really happens if we allow the body to be fully present, empty, and vulnerable to agents. They move and think fast or slow. Their bodies become possibly stiff, stupid, irresponsible. They may act responsible, appear decent, or simply be.

Their bodies respond to internal and external stimulation; in touch with feeling not as a tool for manifestation, but as it manifests itself in the frustration of thoughts and movements that cannot always find completion.

I want the public to “see” the dancers as the intelligent people they are—personas capable of dealing with situations, making decisions within a set context, understanding an overview of events. They demonstrate freedom of action and awareness of their surroundings, as well as a bravery necessitated by the lack of solid ground to fall back on. The dancers are simultaneously trusting and daring while bound to follow the sensations or emotions triggered by each choreographic task.

Choreographic, visual, and sonic stimuli meet in a non-organic layering of events and mediums. Scenes are not complete, sentences are not full of sense, images are interrupted without an evident reason. Through “Quite Now” choices are made and their consequences faced as emotional and physical feelings and sensations find a place and a form in movement.