A collection of interwoven movement events that highlight the friction between stories, other stories attempts to unearth our memory of our lives through a physical process. If we are all a compilation of stories about our selves, our country, our friends, lovers, parents, children, teachers, what happens when we are confronted, particularly within an intimate relationship, with a story that diverges from ours, how do we deal with that friction against our reality? Further, what does it mean to believe that there is no one reality, but to give our selves over wholly to our stories? What happens to our relationships when our stories change?

The structure includes a high stakes event, which reveals the creative process in real time onstage:  a guest artist performs at every show with no prior rehearsal or knowledge of the work. He or she improvises onstage about a story of their choosing. The Company dancers catch material from the guest and feed it back to them in short bits throughout the work, inviting them back onstage at the end to perform a story of a story of a story. This event illuminates the fragility of “reality” and allows us to see the building and unraveling of our constructions, both physical and narrative.

Dramaturgy for other stories included selecting and editing two-person scenes from three different plays that were translated by the choreographer and dancers to build three nonverbal duets.  (Scenes selected were between Li’l Bit and Uncle Peck in Vogel’s How I Learned to Drive, Irina and Tuzenbach in Chekhov’s Three Sisters, and Didi and Gogo in Beckett’s Waiting for Godot.)  Work also included feedback and extensive discussion of piece structure and physical logic.