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Lisa Naugle - Performance

In 1991, I became interested in using computers in performance and since then my work has included the application of new media technology with dance. I am particularly interested in creating choreography that is presented in multiple perspectives, spanning procensium stages to gallery installations and outdoor environments. In collaboration with video art, I explore the use of abstract representations justaposed with of live dance dance, questioning how choreography can be transposed into screen imagery displayed in graphics on video, and as interactive material.

An an artist, I feel it is my responsibility to make use of the latest technology in choreography. I find that musicians understand this point of view very well, because they have used advanced technology for hundreds of years. In its' time, the pianoforte was advanced technology when it was invented. Today the advanced technology is computer technology. Thus I work very closely not only with dancers but with musicians, computer scientists, visual artists and performance artists in the creation of work.

The full chronology of my performance work as choreographer and dancer provides links to a series of web albums containing samples of my performance work from 1991 to the present.


My work as a choreographer includes live performance on traditional and non-traditional stages, choreography for video/animation projects, and choreography for telematic performance. I utilized both structured improvisation or set choreography in performance.

Portal explores "underground communication" between a group of people who try to pass from one place to another.

Songs of Sorrow, Songs of Hope, conducted in real-time in New York City and California, commemorated the September 11, 2001 tragedy.

Split was a commission I received as part of the Ida and Cecil Green Honors Professor Award (2000).


My work as a dancer includes traditional modern dance as well as improvisational interactive performance. Since 1991 I have been devoted to exploring the convergence of established choreographic practices and new media technologies and investigating in ways that performance influenced by technology, and cross-cultural and interdisciplinary collaboration.

Cassandra is an evolving multimedia work that has involved yearly performances since 1997, including Internet collaborations.

AVA evolved from motion capture technology and became a virtual dancing partner.

Bird of Passage dealt with the notion of a transient, one who is here today and gone tomorrow.

Budapest Selections were four dances where I formulated "four requirements" as a method to approaching each piece.