“…the program’s [Dance Kaleidoscope] most original piece may have been Dawn Stoppiello’s solo ‘In Plane’ for Troika Ranch...she interacted with video images of herself in intriguing live-versus-tape duets.” - LA Times, 1994
Coming Soon!

Choreography: Dawn Stoppiello
Webography: Mark Coniglio

Yearbody was a yearlong dance piece designed to be experienced via the web. Each day on the Yearbody page, from November 1st, 1996 through October 31st, 1997, we presented an image of one of the 365 shapes comprising the entire dance. We then compiled the completed set of images in an animation, which you will see here. Determining how to structure a yearlong work, and choosing how the images would be presented over time was an interesting part of our process. During the first three months of the piece, we chose to present a new image each day. During the fourth month we began to use thematic material from this exposition, creating a kind of variation/recapitulation. This section continued through the sixth month. For months seven through nine we compiled all new images. Then, in month ten we began to bring back material from the previous three months. Month eleven was an exact repeat of month one, a kind of recapitulation if you will. The final month is a compilation of our favorite bits from the all of the previous material.
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(1996 - The Kitchen, NYC; The Electronic Café International, CA; The College of Santa Fe, NM)
Choreography & Direction: Dawn Stoppiello in collaboration with the performers
Videography, Music & Direction: Mark Coniglio
Lighting Design: Mark Coniglio
Costume Design: Dawn Stoppiello
Performers: Dawn Stoppiello, Rose Marie Hagenbart, Lana Halvorsen, Gail Giovaniello (NYC), Ernie Lafky (Los Angeles), Joan LaBarbara (Santa Fe)

Inspired by the Critical Art Ensembles book of the same name, The Electronic Disturbance puts our two bodies – Corporeal and Electronic - in conflict and harmony with each other in an attempt to synthesize the two into a new, complete, 20th century body. The dancers in the work portray the Corporeal Body, a body that desires to become electronic. In each piece, we see them attempting to take on the characteristics of the electronic body. The Electronic Body is portrayed by the actor and the singer at the remote sites. Using a combination of video techniques and light, their faces are combined into one, creating a dual-gender figure that appears only as a video image.
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(1994 - Walker Art Center, Minneapolis, MN)
Choreography/Performer: Dawn Stoppiello
MidiDancer Sensory Suit & LaserDisc Technology: Mark Coniglio

Commissioning Partners: ASU – Institute for Studies in the Arts, The Yellow Springs Institute and the Walker Art Center.

Which is more powerful: the human dancer or her virtual dopplegänger? In Plane is a duet for a dancer and her video image representation. The dance used the MidiDancer system to allow the performer to control the generation of music, the recall of video images, the theatrical lighting and the movements of a robotically controlled video projector.
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(1992 Premiered at La Boca: The Sunshine Mission, Los Angeles, CA)
Choreography: Dawn Stoppiello
Music: Mark Coniglio
The Confessioner /Conscious: Dawn Stoppiello
The Coroner/Mr. Manners: Ernie Lafky
George Jo Hennard: Nick Erickson
Jackie O./Mary Magdelane: Virginia Lantry
The Victims/Witnesses: Ken Talley, Scott Hendricks, Mary Hunter Ellegood, Diana Mehoudar
Lighting Design: Betsy Herst
Set & Costumes: Dawn Stoppiello and Mark Coniglio

Frame 313 is a dance theater work based on the mass murder of 23 people in a Luby's cafeteria that occurred in Kileen, Texas in 1991. It is also a reflection on the tarnished image of the American Dream post the Kennedy assassination.
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(1991 - The Electronic Café International, Santa Monica, CA)
Conceived and Directed by: Mark Coniglio & Dawn Stoppiello

Performers: Dawn Stoppiello & Diane Vivona

Video Phone Technology: Kit Galloway & Sherrie Rabinowitz

An Adjacent Disclosure was our second piece to make use of telecommunications, though the sites were not terribly distant. One performer was located in the Electronic Cafe, while the other was about 100 feet away at Highways performance space.

We were interested in exploring the separation of bodies implied by the use of telecommunications technology. We focused on the inability for the two characters to make physical contact, to have an experience of touch in their relationship. We emphasized this separation through the use of composite-image video techniques developed by our collaborators Kit Galloway and Sheri Rabinowitz. The performers shared a common space (the video frame) where they could nevertheless never touch each other physically.
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(1990 Premiered at The Electronic Café International, Santa Monica, CA and The NYU Television Studios, NY NY)

Conceived and Directed by: Mark Coniglio & Dawn Stoppiello

Performers: Dawn Stoppiello, Ilaan Egeland, Shannon Kenney, Wiley Evans, Tom Lopez, Becky Allen (LA), Andrea Mills, Robin Ziemer (NYC)

Video Phone Technology: Kit Galloway & Sherrie Rabinowitz


Tactile Diaries is a work about the ways we touch one another: emotionally, physically and virtually and was our first work involving telecommunications. The piece was performed simultaneously at The Electronic Cafe in Los Angeles and The NYU Television Studios, New York City. We used slow-scan videophone techniques developed by Electronic Cafe founders Kit Galloway and Sherrie Rabinowitz to transmit images from the local performances to the remote site using ordinary phone lines.

In the final section of the work, an early version of the MidiDancer was used to allow dancer/choreographer Dawn Stoppiello to use the shape of her body to determine when images would be transmitted to New York.
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(1989 California Institute of the Arts, Valencia, CA)

Conceived and Directed by: Mark Coniglio (Music & MidiDancer), Dawn Stoppiello (Choreography), Ilaan Egeland (Choreography), Peter Siedler (Set Design), Sten Rudstrom (Text), Cathy Galeota (Video), Betsy Herst (Lighting), Meredith Alex (Costumes).