The Field at NACL 2011

Kristy Dodson (Artistic Director) Overturn Theatre Ensemble
Ensemble: James Fauvell, Joshua Levine, Daniel Morgan Shelley, & Daniel Kublick
Waiting for God Yo (working title), Theatre, sight specific installation exploring the text of
Waiting for Godot

You absolutely cannot beat the amazing facility & people at NACL! There were so many resources at our disposal technically and artistically to explore our, quite complicated, production. But most of all this residency meets our mission in perfect construction "to change the current climate of the commercial theatre." It gave us an opportunity to share our work with a built in audience and most importantly an audience of artistic peers that for the most part are not theatre goers. Having a responsibility to the desires of an unassuming audience from the beginning of a production's creation is invaluably beneficial in solidifying choices at a surprisingly rapid speed.

The dancers! Despite being part of the same union, it was a surprising revelation for me that directing and choreographing are of the same artistic intent. I found that when giving feedback we speak the exact same language, which was so remarkable for me. I found a peer group that was able to not only hold me accountable for an intended vision but also one that explores in ways I am not familar with. I got an opportunity to gain new artistic eyes that will effect my work forever.

Oren Barnoy, Dance/Choreography

The entire day being dedicated to honoring yourself and others has been very helpful to my process. One very particular thing has been the ability to share my process with artists of many disciplines in a way that has been introduced to me as ‘generous and selfish. Giving all that you can to another artist and the other artists giving generously to you as well. And that is how it has felt. It feels safe to explore here. I think as of yesterday it has helped my process in that I think I will make a solo on myself. This is not something I came in with. This is something that came from being here and I feel that I can do it and that I want to do it. For me this is personally very new and surprising. I am grateful for this.



Our “field work” sessions stand out to me as they feel very supportive, generous, invested, sincere , caring, open, sensitive and realistic. There is so much sharing. This stands out to me as an anchor of some kind. It is a place where I have felt vulnerable at times yet simultaneously uplifted. Sharing meals and casual conversations have somehow made me feel that I have something in common with the others here and that we are all in this together.

Another thing that stands out is, gosh EVERYTHING! Its incredible here. Calm, sweet, warm, fun, friendly and nourishing. It has been very very nourishing. The rehearsals and the space surrounding has felt so healthy and free. I feel a sense of freedom.

Another thing that stands out is the fluid presence and the fun, giving spirit of our fearless leader (James).

Einy Aam Sparks (Dance)
‘Where the Light Falls’/’Open Your Window’
(working title);
A site-integrated piece, inspired by the NACL Theater.

This retreat has been incredibly helpful to my process, by creating a space for me to fully focus on my art, in amazingly calm and beautiful surroundings. Having both the time and resources available for a full 10 days, and having such an amazing group of artists from different disciplines to bounce ideas off of, and receive feedback from has been of immense importance to my artistic development and confidence as a whole. I am incredibly grateful of this experience and this wonderful opportunity to share, learn and explore.

I am leaving this retreat with a lot more artistic confidence, more knowledge, a refreshed mind and many new friends.

Cristina Jasen, Dance, Choreography
Current Project: Devoloping new material for the New York Foundation for the Arts 2012 Boot Camp Arts Festival.

This retreat really recognizes eating well and living well is just as crucial to making my work as studio time is to making my work.

I would say the communal meals really stand out for me. It creates a relaxed, intimate space for us—artists of all disciplines—to connect outside of the studio, which carries over to the studio when it comes time for feedback in the theater. Hearing from artists of different disciplines is already a rich experience, one that gives me different perspectives on what I’m presenting and how I talk about it—and having a connection to these artists outside of the studio has helped me take risks in the piece I’m working on.

Onome, Music

Pecola's Revolution: a soundscape mixtape that explores the relationships between beauty, value and power.

This retreat was helpful to my process because it provided a supportive space for my work to be witnessed in its rawest state. The retreat also allowed me to see myself in my rawest state with my work. I loved having the opportunity to explore without knowing what was going to emerge at the end of each rehearsal. It was like leaping into a two hour abyss every day for 10 days - terrifying and exhilarating.

What stands out about the retreat is the quietude, the beauty and vastness of the theater, the crickets and hummingbirds and lake, the communal dinners, the act of sleeping soundly.