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winterWORKS 2020


directed by Yolande Snaith, Liam Clancy,
and Melissa Cisneros


winterWORKS 2020 has been CANCELLED due to the potential transmission of Covid-19, or Coronavirus. The safety and security of our students, staff, faculty members and greater community is our highest concern. This is a proactive measure. Keep up to date with the university's response.

Sincere apologies for the inconvenience.
About the Performance

Original works by choreographers demonstrating the creativity and technique that emerge within and through the body in mastering the art of dance. 
About the Directors

Yolande Snaith (Dance Faculty/Head of Undergraduate Dance) Yolande Snaith’s choreographic and performing career spans thirty years. Her range of artistic engagement is broad, from solo performance work to group choreography and dance theatre, choreographic commissions and improvisation ensemble practice. Her work has been presented internationally in more fifteen countries, and she has created several dance films in collaboration with renowned film directors. Yolande has been commissioned to choreograph works for dance, theatre and opera companies internationally. Yolande’s artistic roots lie in her native Britain, where she emerged in the mid 1980’s as one of the UK’s most innovative young choreographers, at a time when the European dance theatre scene was rapidly evolving. Between 1985 and 1990 Yolande created a number of full length solo and duet works which toured the British dance venues and European festival network, with support from the Arts Council of England, and the British Council. Yolande received a number of dance awards including; two Digital Dance Awards, a Barclays New Stages Award, the Bonnie Bird Choreography Award and two Time Out/Dance Umbrella Awards. Yolande’s UK company, Yolande Snaith Theatredance was established in 1990 with funding support from the Arts Council of England. The company’s work was renowned for its innovative collaborations with composers, designers, writers, dancers and actors, creating striking visual and theatrical worlds with their own unique performance vocabulary and internal logic. The company created and toured eleven full length works between 1990 - 2004, visiting dance festivals and venues in France, Germany, Belgium, Holland, Italy, Spain, Romania, Lithuania, Isreal, Greece, Hungary, Austria, Ireland, Switzerland, UK and Scotland. One of Yolande Snaith Theatredance’s most renowned works, Blind Faith won the Prix D’auteur du Conceil Generale de la Seine-Saint-Denise in 1998. Yolande has received commissions from dance, theatre, opera, film and television companies, including the English National Opera, Birmingham Dance Exchange, Transitions Dance Company, CNDC, Ricochet Dance Company, The Verve, Paines Plough Theatre Company, Jean Isaac’s San Diego Dance Theater and Trolley Dances and the Hungarian State Theatre of Cluj. Yolande has created eight dance films in collaboration with a range of directors, designers and composers, including director Ross MacGibbon, composers Graeme Miller, and David Coulter and designer Robert Innes-Hopkins. Should Accidentally Fall (1992), Swinger (1996) and Tablecloth Garden (2000) were all screened on television stations internationally, including the BBC and Channel 4. In 1997 Stanley Kubrick commissioned Yolande to choreograph his final film Eyes Wide Shut, and in 1999 she was the choreographic adviser for David Hinton’s film Birds, which was the overall winner of the 2001 Monaco Dance Screen Awards. Yolande moved to the US in 2002 to join the faculty of Theatre and Dance at UC San Diego, and since then her choreographic and performance work has diversified through a broad range of artistic collaborations, commissions, site specific works, improvisation ensembles, film and solo projects, with performances in Los Angeles, San Diego, Germany, France, Holland, Romania and Hungary. IMAGOmoves was established in 2006 as an artistic ‘umbrella’ for collaborative projects with other artists and performers. Since its inception IMAGOmoves has created six full length dance theatre works and several shorter pieces, including large group site-specific events in urban city locations, to intimate smaller group and solo work presented in a range of venues, from the Hungarian State Theatre of Cluj, Romania, to San Diego’s alternative performance spaces such as SUSHI Visual and Performing Arts and Space4art. Recent projects include: Ruins True (2010 - 2011), a dance theatre collective creation between theatre director Gabor Tompa, co-performer/choreographers Yolande Snaith, Liam Clancy and Mary Reich, composer Shahrokh Yadegari, and scenic/ projection designer Ian Wallace. Inspired by the work of Samuel Beckett, Ruins True was previewed at SUSHI Visual and Performing Arts, San Diego , and toured to international theatre festivals in Romania, Hungary and Avignon, France. In 2012 Yolande was commissioned to choreograph a re-creation of Ruins True with performers from the Hungarian State Theatre of Cluj, Romania, and the piece (Ruins True Refuge) is now performed regularly as part of the company’s repertoire, touring to international theatre festivals. The Art of Fugue (2012) was an international music and dance collaboration with baroque music ensemble The Bach Collegium San Diego and Brazilian violinist Rodolfo Richter, presented at UC San Diego. The Art of Fugue sought to create a marriage between tightly scored dance improvisation, set choreography and the timeless, spacial geometry of Bach’s fugues. One Hundred Feet was a full length multimedia solo work choreographed and performed by Yolande, created in collaboration with video artist Natalia Valerdi, sound designer Nick Drashner and lighting designer Wen-Ling Liao, presented at UAG San Diego, Space4art San Diego and the UCSD Department of Theatre and Dance’s ‘Dance Series’. Between 2009 - 2012 Yolande was a member of LIVE, an improvisational ensemble based in San Diego, who have been presented in Mexico, Germany, Los Angeles and San Diego. Yolande created choreography for Eleanor Antin’s production of Before the Revolution, at the Hammer Museum, Los Angeles in January 2012, directed by Robert Castro. Yolande’s most recent film project was a choreographic commission for Queens Dream in collaboration with director Mark Freeman, 2012, which is currently being presented in dance for the camera festivals internationally.

Liam Clancy (Dance Faculty/Head of Graduate Dance): As a young artist I wanted to be part of an ensemble where work was made collectively. My earliest and most profound influence was Everett Dance Theater in Providence, Rhode Island. I took my first dance class from the artistic director Dorothy Jungels while an undergraduate at Rhode Island College in 1991. They made work that was smart, surprising and while it dealt with larger issues, was always framed by their history with each other. My own career began as a dancer in Elizabeth Streb’s company Ringside in 1995. Between 1998 and 2002 I was making my own work in New York City, primarily as a solo artist. I was inspired by what I was seeing at spaces like PS 122, Dance Theater Workshop and La Mama. The works I saw were mixes and collisions of dance, theater, performance art, storytelling, music, vaudeville and cabaret. In the fall of 2002 I began an MFA in choreography at UCLA and after graduating in 2005 was hired by the Department of Theatre and Dance at UC San Diego to help shape the new MFA in Dance Theatre program. I’m most interested in continuing to shift my arts practice away from known conventions of performance toward a discipline of inquiry that makes discoveries possible and visible, away from the replicated prescribed content, toward practicing disciplines of immediacy to reveal fresh material and meaning. Performances of the moment and in the moment wherever I am and can be, no frills, heavy on content, light on their feet. This approach to art making speaks directly to the things I value most as an artist: entering unfamiliar territory, listening, allowing structure and form to emerge, spontaneity, surprise and an embodied response to ‘what’s happening in the room’, less control, more noticing. Some of my influences include the work and writing of Simone Forti, Mary Overlie, Ann Daly, Deborah Hay, Dan Froot, Anne Bogart and Sally Banes (particularly her writing about Judson Dance Theater). The kind of art I want to make might be described like this: It doesn’t expound, is suggestive rather than exhaustive, depends on gaps, may merely mention. Advances by juxtaposition or sidewinding poetic logic. It often accretes by fragments, taking shape mosaically, its import visible only when one stands back and sees it whole. To reconcoct meaning from the bombardments of experience: to shock, thrill, still the racket, and tether our attention. —Excerpts form Reality Hunger, by David Shields p. 131 (384 – genre). I’ve been committed to a sustained weekly practice of improvisation since July of 2007 that pushes me beyond my limits within a group (collaborative dance theater – LIVE) of fellow artists here in San Diego. Practicing consistently has created a rich history of inquiry, a laboratory that allows me to find other ways of being in front of an audience, of dancing and making dances, and through the practice of improvisation to keep discovering what else is possible for me as an artist and a person.

Melissa Cisneros is currently an MFA student in Dance-Making and Performance in the Department of Theater & Dance at UC San Diego. Melissa studied Dance-Making at the School for New Dance Development (2001-2004) and Fine Arts at the Gerrit Rietveld Academie (2005-2007) in Amsterdam, NL. Since then, she works as an independent artist developing and promoting creative projects related to the research, creation, production and dissemination of contemporary performing arts in Mexico and abroad. Her work is constituted by a permanent coming and going between artistic practice and theory, a transit that takes place in the field of the body. In 2010 she established La Mecedora, a nomadic initiative that cherishes new ideas within body related art emerging in creative processes. La Mecedora is a trans-disciplinary platform that counters economical discourses in art that focus on efficiency, time-pressure and final end products. Instead, it illuminates the rich and insightful path leading towards the eventual performance, dance or art piece whilst reflecting on how perceptions are conditioned by socio-economical factors.

The Casts

Melissa Cisneros' Piece
Madelyn Astaundu
Nataly Rojo

Double Drift
Sabina Fitz
Marcella Torres-sanchez
Nathalia (Annisa) Vazquez
Erica Kahn
Damien Coates
Brianna Maloney
Karen Gong
Peiyao (Betty) Lyu

Juliana Kleist Méndez
Luis Zapien
Bryson Reponte
Gabrielle Nathanson
Tristan Samson
Kelly Hatfield
Meijun Lin
Peiyao (Betty) Lyu

The Creative Team

Dance Maker (“Double Drift”) –  Liam Clancy
Dance Maker (“Scape”) –  Yolande Snaith
Dance Maker –  Melissa Cisneros
Scenic & Projection Designer – Elizabeth Barrett
Lighting Designer –  Harrison Foster
Costume Designer (“Double Drift”) –  Eric Geiger
Stage Manager –  Topaz Cooks
Asssitant Stage Manager –  Nicole Kim
Assistant Stage Manager –  Hina Nishikawa

Performances Parking & Location

Located at: Mandell Weiss Forum

Parking Passes Required for performances:
Monday through Friday evenings and on the weekends. Parking is $1.50 per hour from the vending machines located in the UC San Diego Theatre District/La Jolla Playhouse parking lots and entry display case. Please remember your parking space number. You will need it to purchase your parking pass.

Note: Machines take all major credit cards except Discover, and when paying with cash you must use exact change, NO CHANGE GIVEN.

Cars without permits are subject to ticketing by UCSD Campus Police. The Theatre & Dance Department does not have the authority to waive and cannot pay parking tickets.

winterWORKS 2020 has been CANCELLED due to the potential transmission of Covid-19, or Coronavirus. There have not been any cases of the virus reported on the UC San Diego campus, but the virus is spreading throughout the United States, including in California.

Your attendance is very important to us, but our first priority is the health and safety of our students, faculty, staff, and visitors.

Sincere apologies for the inconvenience.

Advance tickets for this production are available only online through the "Click here for tickets" button above. You can purchase tickets online on your phone the night of at the theatre.

At-the-Door tickets, if available, can be purchased one hour before show time at the performing theatre’s box office.

You can also leave a message at  858-822-3152 with questions and we will get back to you.

General Admission: $20
UCSD Faculty/Staff/Alumni Association, and Seniors (over 62): $15
UCSD Students/UCSD Alumni Association (with ID): $10

Please note: No late seating; no refunds.