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Dean Moss/Gametophyte Inc.

"a tour de force... Moss involves the audience in a kind of ritual process of becoming that wavers between comfort and discomfort, intimacy and distance, stability and uncertainty. 'Be with me,' the performers whisper to the audience participants, and no matter our level of spectatorship, we have no desire to do anything but-- Moss' work draws us in, invites us not just to be, but to become." - Studio magazine, Studio Museum in Harlem

"His mastery of the surreal, visceral, and participatory is truly unique and arresting. The seamless artistic symbiosis that Dean achieves with Sungmyung is a rare and welcome experience."
- Michael Reed, Director of Cultural Participation and Programming, ASU Public Events

"I loved the show. It was one of the best things I have seen this year. I was also very uncomfortable sitting on stage and participating - but I was so grateful for the experience at the same time, so it brought up a whole range of emotions for me as I watched. The performance pushed me to accept that I was a part of the creative process, an uncomfortable but totally inspiring place to be. By the end, I was willing to roll on the floor, pile up against sweaty strangers, speak, do whatever - because I felt we were all breaking bounds. It felt like jumping in the pool with your clothes on."

- Elyssa Dole, audience participant, The Kitchen (New York)

"This may be up there with the best work I have ever seen. On so many levels. To bring the performers and audience together this way is one I will never forget. I found each moment like breathing, like thinking a private thought and then having it front of you for anyone to see."
- Marya Warshaw, Executive Director, Brooklyn Arts Exchange

"Visually stunning, mentally and physically absorbing. That ‘space' where movement emerges in its completely raw form, the way Moss' score contained that held great meaning for me. The rarified and defamiliarized bodies, movements, and gestures framed in proximity to familiar ones - each gave greater resonance to the other."
- Kathy Westwater, audience participant, The Kitchen (New York)

"At one point [one of the performers], while naked and behaving as if dead or wounded, was tended by two people from the audience. Such minor pathos as the scene had all came from those two unrehearsed contributors. Their tenderness and perfect attention gave the moment more reality than the trained performer."
- Alastair Macauley, The New York Times

"The dancers' behavior suggests at once a lost tribe and disturbed children, terribly serious about the games they're making up. The confusion is interesting. So are the exaggerations of gender.... There's uneasy comedy in this, an edge of terror - much like adolescence."
- The Village Voice

"...what Dean Moss recently offered so eloquently in his Nameless forest at The Kitchen a couple of weeks ago revealed some of the key investigations for our form at this moment in history."
- Maura Donohue, Culturebot (from Get Closer: thoughts on activating the audience in live performance)

"The question of audience vs. performer isn't new, but it feels ripe again. The considered sophistication of Moss' work reveals how wide the field's reach is in considering what the nature of live performance is today. In Moss' Nameless forest, several selected audience members become actively engaged in the work and are moved and placed by the company; their presence becomes essential to the remaining (seated) audience's experience of the work, and our witnessing of their experience becomes essential to our enjoyment of it as well. There is a sympathetic alignment that allows them to serve as our avatars in a very precarious, exploded landscape. They become part of a shared experience, and we sympathetically do as well."
- Maura Donohue, Culturebot (from Get Closer: thoughts on activating the audience in live performance)