(photos Pavel Antenov)

I am a theater maker, choreographer, actor, dancer, performer.  I make contemporary, movement based work.  Physical theater, dance theater, experimental theater.

In all my work I am searching for the unspoken and the pardoxical.  Sometimes dark, sometimes funny (hopefully both), I strive to make work that probes, questions and gets under the skin.  I use movement, live sound, original and found text.  Bit by bit I pile a gesture, a sentence, and a sound on top of one another, and poetically float one moment into the next.  Themes that repeat are the performance of gender (ahem, headshots), speech and miscommunication, visibility/invisibility, and an ever-present fascination with the performer’s relationship to audience.

(photo Daniel von Behr)

Currently I am working on a series of performances about work and the body. The first part, a bare bones solo called Customer Service showed at Movement Research at the Judson Church in 2010,  and at Triskelion Arts in Brooklyn in February 2011.    The second part, a duet called Big Exit, has now shown in several work-in-progress incarnations at the Kitchen, Figment Festival, The Chocolate Factory/THROW and then  Dixon Place and Earlham College last spring.   In support of my work I’ve been grateful to receive an Emerging Artist Residency through the Field (artists! anyone can get it, it’s a lottery!), and a residency in the International Summer Program at Robert Wilson’s Watermill Center.


(photo Ian Douglas)

As a performer, I’ve worked in NYC  with choreographers Marija Krotolica and Lydia Bell, with Bay-Area based FoolsFURY and writer Sheila Callaghan at New Dramatists, Messenger Theater Co at St. Ann’s Warehouse, and am currently touring a new piece with Messenger Theater Co called AS WE LIKE IT, a two-woman physical theater approach to Shakespeare’s As You Like It.

Back in the Bay Area, where there are trees and blue sky… I worked with Sideshow Physical Theater Company, FoolsFURY, Traveling Jewish Theatre Co, Hilary Bryan Dance Theater, and the Hybrid Project at Intersection for the Arts,  and a little teeny bit with my dear friend’s company Paufve Dance…among others.  Before that was lucky enough to perform with the Philippine Educational Theater Association in the Philippines and El Teatro Quetzalteco in Guatemala.


(photo Oriol Cara)

In general, why do I make performance work?  Talking to my friend Sarah, a philosopher, she very clearly articulated why she does what she does.  Being a philosopher is a way for her to think deeply about the world.  That’s succinct,  I thought. I will steal that.

For me.  Creating and sharing performance is a way to think deeply about the world in a way that is visceral and embodied.  I think audience members and performers alike can learn new ways of being and doing, even before we can verbally articulate what has happened. And, it’s really unbelievably challenging to make.  I like that.

 

(Illustration/flyer Stephanie Butterworth)

4 Responses to “About Sara Zimmerman”

  1. efrat said

    sara

    loved seein you at judson on monday. you asked for comments/inputs, so here’s some.

    im not a dance aficionado and deff not an expert, just a regular chic that loves watching her some movement.

    ive been coming to judson for years now, judson nights can be torture on wheels or pure joy, and almost always are a mixed bag of both. this last monday was no exception.
    i find that most performances are mostly challenged in the editing department; lots of times there’s a beautiful idea or concept/s which is taken to length and completely forgets where and when to stop. the 2 performances before and after you where exactly such.

    but not yours.
    i thought your piece was mature, beautiful and tenderly strong in its precision. you have a natural feel for playing the full range of the emotional harp, in a way not too many people can. pina bausch could.

    the only thing i thought was not necessarily necessary was the very low tone voice thing in the middle and once strongest at the end.
    but other than that, really – precision galore – splendid moves, super voice. funny. poignant.

    thanks a bunch for showin.
    make more

    byebye

    – efrat

  2. zimmesa said

    Efrat,
    A belated thank you for your lovely feedback. And great eye/ear! I am thinking and working on the low voice stuff, I like it, just trying to find the exact right spot and place for it. Come see the piece in February and let me know what you think! (it’ll be at Triskelion as part of Marija Krotolica’s concert on the 4th/5th)
    All the best,
    Sara

  3. Emily said

    Hi Sara, This is awesome to see. You are doing such cool things. I am so sorry I lost contact. I feel so badly about that and know it is my fault. I found a picture yesterday in my parent’s house with us covered in green slime laughing ridiculously. Reminded me how stupid I am.

    I wish you all the best and hope one day we can connect again. I hope to see you perform one day.

    Emily

    • zimmesa said

      Hi Emily! Looks like you made this comment ages ago! I am bad about checking comments on the blog… I know exactly which green slime picture you are talking about! All my wildest and most interesting childhood stories involve you. =) Hope all is well with you. You can reach me directly at sbzimmerman@gmail.com. or on facebook of course!
      xo
      sara

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