"Despite being a solo, Yang’s work is the most complete and complex of all. He not only performs as a lone guy in a closed space, but later, transgendered and dressed in gown, high-heels, and wig; she dances and sings joyfully for contrast." - William Chan / dance journal/hk

"This piece has a very strong theatrical acting element, yet did not fall short on dance aesthetics. Yang’s moves were accented and smooth, syncopated and fluid. In terms of performance medium, the piece has a rich and spectacular exploitation of performing arts possibilities." - Chloe Chia / HKELD

「楊浩嘗試從身體動作與外在服飾探討性別這課題：他由最初一個獨男在斗室空間的困獸鬥，到穿起裙子和高跟鞋的易服打扮，雖不算新鮮，但先有其觀點。其後播出他自己中談這作品的一段錄像，既是調侃，也為演出提供一個間離效果。」——聞一浩／文匯報

“I am defined as a subjectivity, singular person, as an “I,” precisely because I am exposed to the other. It is my inescapable and incontrovertible answerability to the other that make me an individual ‘I’. This is the basis of all ethics.” — Emmanuel Levinas

Choreographer's Note
I feel most fortunate to be able to present my work through this platform again. Pied a terre began when I was at Yale University; being far from home gave me new perspectives about Hong Kong, and with this dissociation, I began exploring the topic of “otherness”.
Pied à terre means a secondary home, such as an apartment in the city; but I have extended it to mean for me a home for holiday or a shelter from the storm. In this dreamlike resting place, Jessica Rizzo and I found inspiration from each other’s different professions and personal experiences, where we created “other” characters through our “selves”. A lone birdman trapped in its own imagined space; a drag queen who tries to define herself and her surroundings – these types of characters appear in this work, experiencing loneliness in the space between being understood and being misunderstood, using the body to search for what people desire the most: love, company and acceptance.