For one dancer, one actor, one musician (oboe/doubling on English horn), live video and live electronics.
Directed by Linda Bouchard. Performed by Aisan Hoss, Kyle Bruckmann James Fusco and David Coll.
Presented In July 2017 at SPF10 (Summer Performance Festival) in co-production with SAFE House Arts with support from New Music USA, made possible by annual program support and/or endowment gifts from Helen F. Whitaker Fund, Aaron Copland Fund for Music.
Presented by in August 2016 RAW (resident artist workshop), a residency program of SAFE House for the Performing Arts.
Composed and conceived with the support of a Project Grant from the Canada Council for the Arts.
Composer and multimedia artist Linda Bouchard developed “Identity Theft” in collaboration with dancer and choreographer Aisan Hoss, versatile instrumentalist Kyle Bruckmann, technical support by composer/artist David Coll and cameraman/actor James Fusco.
The words “identity theft” conjures the rational fear of our online identities being stolen. We quickly realized that “identity theft” appeared to be about the fragility of our personal and communal connection to the global village and the tremendous pressure our inner topography is under in the current moment. “Identity Theft” explores the nuanced, fluid and threatened connection to our own identity and sense of belonging in a rapidly changing world. With dance, live music, electronics, live video and everyday objects, this new work explores the virtual and literal meaning of identity theft.
Carla Escoda described our work on KQED Arts:
“Another highlight of the first weekend of SPF 10 was Identity Theft by Linda Bouchard Multimedia Works… It’s a hallucinatory distillation of the real-life experiences of dancer-choreographer Aisan Hoss…On the floor with Hoss were oboist Kyle Bruckmann, cameraman-actor James Fusco, composer-director Linda Bouchard and technical director David Coll. Together they spun a haunting web of sound and video imagery. Hoss wrestled expressively with thick ropes, clanking chains and a wrought iron bird cage, while surveillance-style video footage of her was projected onto the forbidding walls of the Annex. Hoss was mesmerizing …”
Full review here