speech at a conference is interrupted to watch a hand clapping dance, to perform a dance of his own, and to receive the gift of a fish. The fish becomes central. Theatre Forum noted that the piece, exists at that point of collision between form and substance” and that “the intricacy of that subtle emotional palette is one of [its] great strengths." The Other Here was developed at the CUNY Festival of New Work in NYC, 2005. It then played at Lincoln Center Out of Doors (2006) and at the University of Maryland (2006). Its official premiere was at The Japan Society in February 2007. Orestes (2009) From the pen of “one of the most exciting poets writing in English” (New York Times) comes the world premiere of Anne Carson's vibrant new translations of the ORESTEIA myth. This grand kaleidoscopic compilation gathers together the works of Aeschylus, Sophocles, and Euripides to tell the fall of the mighty house of Atreus. A Classic Stage Company presentation of three plays in three acts. “Agamemnon” and “Elektra” directed by Brian Kulick and Gisela Cardenas. “Orestes” directed by Paul Lazar and Associate directed and choreographed by Annie-B Parson. This piece performed at the Classic Stage Company, New York in March 2009. Comme Toujours Here I Stand (2009) This original piece was inspired by Agnès Varda's 1962 French Nouvelle Vague black-and-white film, Cleo From 5 to 7, and was commissioned by the French Institute Alliance Française. The film follows Cleo, a young pop singer anxiously awaiting the results of a biopsy test for cancer. The film follows her in nearly real time for two hours, as she distracts herself with composers, lovers, friends, a fortune teller, and a soldier. The Big Dance production simultaneously honored, appropriated, reinvented, and departed from the model of the film. In the words of Philip Lopate, writing for the Performance Arts Journal, Parson “zeroes in on the very French (think of La Rochefoucauld) theme of humanity's egotistical cruelty.” When creating the piece, Parson used the screenplay, but didn't watch the film itself until late in the process, so as not to be (in the words of Lazar) “under the claw” of Varda's influence. The New York Times wrote that in the piece, “meaning accrues from a complex yet spare interplay of actions and objects: a French folk song, video by Jeff Larson, luscious costumes and props evoking French couture, even