There are 3 significant themes emerging in my work: (1.) subverting PERFORMANCE -- who is this performance for and/or who is the performer. The performance could be an act of creation of all parties present. The performance could then dismantle the idea of more "traditional" performances and we (may) all wonder if we are just hanging out. Who's to say where creativity and creation begin and end? And who's to say a performer is the only performer. (2.) SHARING. Along with asking my "audience" to determine the exact parameters of an event or performance, I also encourage people to sing and sound. Our silent spectating selves can hopefully be shaken out of the stasis, to engage, to attempt, to set aside the self-critical moments and rejoice in our human sounds. (3.) utilizing all SPACE. As a classically trained opera singer I was taught to stand still on stage, and project throughout a proscenium, but I am more interested in all of the sonic potential that lives within space, acoustically and electronically. I explore spaces and places through movement, unusual positioning, and sound locationing. -July 2017
Sight Shadow is the vulnerable place where we expose and illuminate the cultural underbellies that hold us hostage, distract our reality, disrupt our momentum. A place investigating Body, Desire, Death and Power. Casting the audience as Male Gaze, Sight Shadow performs Female Hysteria from an individual's herstory. Something about Opera. Sounds.
grosso cazzo: un'opera della signora
(big dick; a lady's play) A solo exploration on her return home after a decade's absence, the trying on and shedding of other identities, the merging of many self's, and Saturn's looming presence, faltering through these things and more in an Opera in three short acts.
ATTEMPT// is a seven-volume collection of interdisciplinary works. Each of its seven folios is organized according to a broad thematic topic, and can be read either alone, as its own chap-book, or in connection with its companion volumes as a single interconnected document:
"Full of jarring juxtapositions, and seemingly impossible performance instructions, and pointed critiques, this collection invites the reader/performer to participate in Stephanie’s own trenchant and heartfelt dissection of a world she approaches with rigorous and pointed ambivalence." (Otto Muller)
with performers and collaborators: Ananda Bena-Weber, Christie Dennis Negri, Catharine Slusar, Amy Piantaggini, Jessie Hurkes, Hanna Satterlee, Alison Vodnoy Wolf, Donia Dhanya Salem, Sharon Penz, Christine Brubaker, Tom Lake, Alex Greengaard, Annis Karpenko, Helen Clark, Tom DeBeauchamp, Josh DeMello, and Stephanie Lavon Trotter.
a collected sampling of open scores, conceptual sonic experiences and scores written for performance from 2012 to present.
Conversation with a Room
Conversations with a Room, is about becoming ambient room noises, the in-between sounds, and pulling apart of the Voice as a instrument of Language and the Voice as an instrument, and the moments and lengths of silence – or really, vocal stillness – to draw attention to the act of listening, and what we must do to listen well. I move through a space I'm responding to the sonic phenomena, and playing with compositional structures of cadence, repetition of phrasing, re-articulation of gestures, and vocal intonation that cues beginning/middle/end, as well as finding my voice within space, within me. I call them conversations, because it seems more casual; a warm-up with scales, and runs, octave reflections, and arpeggios, a sonic improvisation; sounds are just happening, not necessarily premeditated or scripted, but an exploration because I am traversing this vocal territory, this spacial territory to learn more about my voice, and the artistic possibilities that my voice and vessel hold. I consider these conversations a composition in the sense that it is an arrangement of sounds intentionally placed in the ether, yes they could be arranged differently, but this is their current placement. Culminating many of my own open scores, newly written songs, commissioned pieces, old "traditional" arias, I have found this work explores the iterations of myself, sounding through the index of my sonic-life.
waiting to be moved
“There is a kind of intimacy, called physical intimacy, that occurs when two people try to occupy the same space. There is another kind of intimacy, called spiritual intimacy, that occurs when these people recognize their attempt. The voice is the bridge between physical intimacy and spiritual intimacy. Everyone sounds different. Everyone occupies a unique space. The chaos of a crowd moving is no different than the chaos of anticipation one feels waiting to be moved.” -- September 2012
waiting to be moved came out of wanting to confront the joy/fear of singing -especially for non-singers, Intimacy, the Unknown, and Anticipation, and asking: when we confront someone with sound and movement how do we react? do we engage?
This piece is in process, and has had 3 workshops and 1 performance since its inception in August 2012.