contact name: Stacy Lee king
Stacy Lee King first realized her inclination toward collaborative, socially and personally relevant, theatre while studying Ritual Poetic Drama in the African Continuum with Dr. Tawnya Pettiford-Wates and an awesome crew of performing artists in Seattle, WA. She further explored technique and theory in The Theatre Conservatory at Chicago College of Performing Arts. At a workshop sponsored by CCPA she had opportunity to train with choreographer Mary Overlie. In Overlie's Viewpoints theory classical and modern modes are deconstructed so we can give equal and immediate consideration to the components of Space, Time, Motion, Story/Logic, Emotion, and Shape as a piece of theatre work comes to be. The application of this structure has influenced King's work in both aesthetic development and relationship with performance. In Chicago, Stacy Lee became involved in spectacle and puppet performance as a core creator/performer with Manifest Theatre and worked with Redmoon Theater (The Bug Show, Twilight Orchard, and (as a designer) Princess Club).
With musician Matt Larson, Stacy Lee founded the traveling theatre project, a.a. king & sons. The duo created inspector ALICE... never had an adventure, the tale of a one-armed, super-hero, punk-rock, clown in search of her missing imaginary friend. inspector ALICE debuted at the 2006 Abbie Hoffman Died for Our Sins Theatre Festival. The following year they returned to the process of ritual poetic drama to develop Mean World Syndrome. A dark and humorous ritual cycle, the piece abstractly reflected the personal trauma of a subway accident as well as the social aspect of a world out of balance.
In Minneapolis, Stacy Lee King has performed with Sandbox Theatre (The Horse, The Bird, The Monkey, and the Dancer) and in Vanessa Voskuil's phenomenal, en masse, for the series Momentum: New Dance Works. Now, she most often engages in the work of In the Heart of the Beast Puppet and Mask Theatre (Are You Thirsty?; May Day 2009: Our Common Treasury; Decorate the Well in Gratitude; May Day 2008: A New Bridge; and La Natividad).
At In the Heart of the Beast she found inspiring, caring, artists and space to explore her many interests. She works as a crafter and performer and enjoys further exploring the specificity and tradition of mask work and learning puppetry skills, but also values the company's role as an important part of the South Minneapolis community. It is fundamental to King's vision of the role of an artist to develop a community where, as historically, creative action proves vital to the way we live and to lead a collaborative theatre process to lay a framework for cooperative neighborhoods, towns, and villages-healthy, imaginative, innovative, societies.
In Autumn of 2009 King joined the circle of the Bridges Program at Pangea World Theater. In a rigorous three week process she worked with six other artists to explore alternative aesthetics and craft a collaborative production. This was a highly influential experience artistically and personally and a radical return to the experience of theatre as a deep and vital art.
Country of Citizenship:
Spokane, WA, USA
May 26, 1976