I am...

seeking to develop work that generates empathy...

It is a combination of my dance training, belief that theatre can promote social change, and academic background in psychology that fuel my choreographies. I am particularly drawn to empathy, and how the biological evidence of this concept, called mirror neurons, link to movement and art.

 

Empathy is defined as, "the action of understanding, being aware of, being sensitive to, and vicariously experiencing the feelings, thoughts, and experience of another of either the past or present without having the feelings, thoughts, and experiences fully communicated in an objectively explicit manner".

 

As a dance theater artist, my practice is grounded in the intention of generating both new and familiar moments of empathy in myself and others through performance and education.

most happy when I perform...

When I perform, I am at my best health, I can take on the world—I am home in my body. I had the pleasure of working with Quasimondo Milwaukee Physical Theatre for two seasons, and choreographers Yoshiko Chuma/The School of Hard Knocks, Maria Gillespie/Hyperlocal MKE, Reggie Wilson/Fist and Heel Performance Group, Gina Laurenzi/Gina Laurenzi Dance Project, Peter Stathas/Peter Stathas Dance, Davalois Fearon, April Sellers, Deb Loewen, Dani Kuepper, Simone Ferro, D. Sabela Grimes, Amaniyea Payne, and Miguel Peña to name a few.

always learning...

I began my dance training at 8 years old at a small ballet school in Wisconsin called The Dance Factory. I was privileged to train there consistently for 10 years, studying classical ballet in the Cecchetti Method, as well as pointe, jazz, modern, and lyrical dance. While earning my BFA degree in Contemporary Dance Performance & Choreography with a double major in Psychology at Peck School of the Arts, I discovered somatic practices such as Alexander Technique, Feldenkrais, and Iyengar Yoga which deepened my understanding of my technical trainings. I also began my acting training at Peck School of the Arts, and furthered that training at The Acting Studio- New York where I studied Meisner Technique under the instruction of Bruce Hermann. 

 

As a dance technician, what I have learned the most from is teaching others. In combination with demonstration, teaching is an exercise of vocally articulating the sensations and functions of my body, and a practice of understanding other bodies. My ultimate goal for my students is to help them discover how their body functions so they can understand and push the boundaries of their physical practice safely and efficiently.

©2018 by Kelsey Lee