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Lizzie Leopold, Artist/Scholar | Introspect/Retrospect/Prospect

Lizzie Leopold, Artist/Scholar. Skip to primary content. Skip to secondary content. June 3, 2012. How to make a dancer into a choreographer into a scholar – then back into a practicing artist? How can I insert my body into an existing conversation of performed sensation? Or rather, is my body ever not implicated in the sensory experience of performing and/or spectating? Houses five performance works that challenge the temporal fixedness of my body as site of sensory experience.

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Lizzie Leopold, Artist/Scholar | Introspect/Retrospect/Prospect | lizzieleopold.com Reviews
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Lizzie Leopold, Artist/Scholar. Skip to primary content. Skip to secondary content. June 3, 2012. How to make a dancer into a choreographer into a scholar – then back into a practicing artist? How can I insert my body into an existing conversation of performed sensation? Or rather, is my body ever not implicated in the sensory experience of performing and/or spectating? Houses five performance works that challenge the temporal fixedness of my body as site of sensory experience.
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Lizzie Leopold, Artist/Scholar | Introspect/Retrospect/Prospect | lizzieleopold.com Reviews

https://lizzieleopold.com

Lizzie Leopold, Artist/Scholar. Skip to primary content. Skip to secondary content. June 3, 2012. How to make a dancer into a choreographer into a scholar – then back into a practicing artist? How can I insert my body into an existing conversation of performed sensation? Or rather, is my body ever not implicated in the sensory experience of performing and/or spectating? Houses five performance works that challenge the temporal fixedness of my body as site of sensory experience.

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Lizzie Leopold, Artist/Scholar | Introspect/Retrospect/Prospect

Lizzie Leopold, Artist/Scholar. Skip to primary content. Skip to secondary content. June 3, 2012. How to make a dancer into a choreographer into a scholar – then back into a practicing artist? How can I insert my body into an existing conversation of performed sensation? Or rather, is my body ever not implicated in the sensory experience of performing and/or spectating? Houses five performance works that challenge the temporal fixedness of my body as site of sensory experience.

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