BIO

Sarah Finn is a physical theater maker, performer and writer. Her work has been seen at the 2020 Philadelphia Fringe Festival, 2019 Prague Fringe Festival and the Ponderosa Tanzland Festival in Stolzenhagen, Germany; as well as various venues in New York including Dixon Place, The Tank, The Hudson Guild Theater, Cloud City, and Movement Research. In 2019, she was a resident artist at the Barn Arts Collective and The Cannery, both located in Southeastern Maine. Her created work is highly physical, collaborative and interdisciplinary, with elements of clown, absurd dialogue and collaged media. In 2018, she was shortlisted for The Leslie Scalapino Award for Innovative Women Performance Writers for her play, In the woods where the men work. She trained at Ecole Internationale de Théâtre Jacques Lecoq in Paris, France and got her BA from Sarah Lawrence College.

INSPIRED BY

Books about scientists/researchers. Bureaucratic language. Theories on interconnectivity/collaborative survival. Making visuals of ideas. Improvising. Random source material. Synchronized movement. Driving/walking/biking. Collective experiences. Interviews. Rituals - made up or sacred/established. Timed situations where you can't second guess or overthink.

EXPLORING:

A new play to potentially be realized as a puppet film/toy theatre world. I'm in early stages, but in this moment, key players are a bureaucratic agency called the Great Rememberers who are planning the world's end festivities and memorial, an Undivorced Couple for Old Time's Sake, and two AI Weather Correspondents, reporting live.

INSPIRATION FOR PROJECT:

Texts I'm looking at right now, the essay "Paris Not Flooded" from Mythologies by Barthes and The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins. Inspired/excited by floods, gas masks and disintegrating human and digital memory.