Aimee began her professional acting career in her
native New York while attending Wynn Handmans advanced acting
class. She worked in numerous off-broadway and regional theatres
including: La Mama, Theatre for the New City, Colden Center of Performing
Arts, Playwrights Horizon and The Medicine Show Theatre. Favorite
roles include: Medea, Ophelia, Beth from A Lie of the Mind, Solange
from The Maids, and Rose from The Woolgatherer. Aimee relocated
to Seattle in 1986, where she continued to work in professional
theatres such as Seattle Repertory, Alice B. and Theatre for the
New City. She began her solo and ensemble performance and directing
career with the premiere of The Cosmic Accident, (Bumbershoot Arts
Festival), I Like To Watch, (Center of Contemporary Art), and Carne
Vale, (On the Boards). In 1990, Greenberg moved to Los Angeles and
created HEIJERA productions, a solo and large-scale performance
See theatre artist resume for production details.
A non-linear, symbolic and theatrical allegory of alienation
as told through the journey of Jack/Jill, a donut-maker who,
one the way to work one morning, finds himself in foreign
dreamscapes, unsure of gender, past or species. Trapped in
the gap between past and present, Jack/Jill tries to reclaim
his/her identity. (Four characters in multiple roles)
An existential duet between Beatrice and Dante; a fallen
angel and a No Code. (two characters)
of the LOON
A solo show (with puppeteer). A museum piece or animated
installation resurrecting still (ed) lives in motion and exposing,
through snapshot portraits, mythological, historical and personal
accounts of gendercide. "Greenberg spins a macabre and
gorgeous tale through the voice of Marie Antoinette, Artemis,
a witch and a breast cancer patient." (video, animation,
puppetry, masks, dance, music, voice)
Moon of Lilith
Greenberg transforms the sacred and profane through the body
and soul of a fallen "Lilith"as Nazi entertainer,
heartland prostitute and mother of a suburban serial killer.
(Video, masks, song, music, dance)
International Performance and Directing-
Italy, Germany, The Czech Republic, Russia, Wales and Japan
the Water Lily
Stripped of all veneers, "Through the Water Lily"
is an intimate dance of separation and union through the intersecting
and divergent points of marriage and motherhood, Japanese
Aikido and Butoh dance, memory and present tense. (Two performers)
story of a woman shipwrecked between two cultures.
Ana, CA –July 27, 2005. Performance artist Aimee Greenberg will
perform two performances of her latest work, Dona Sangre (Give
Blood), a story of a woman shipwrecked between two cultures,
at 7:00 p.m. on Sept. 3rd and Sept. 10th at
the Grand Central Theatre. Grand Central Theatre is located within
the CSUF Grand Central Art Center at 125 North Broadway A in Santa
Ana California, in the heart of the “Artists’ Village.” Ticket
prices are $20, $15 for students w/ID and OCCCA members. Seating is
limited and reservations can be made by calling 949.246-1698. There
can be no late seating. The material is not suitable for children
was recently broadcast on KOCE-TV, on July 9 at 11:00 p.m., as part
of their Storefront Theatre Live Series. “Dona Sangre was selected
due to its creative format, use of multimedia technology and
engaging performance,” says Hall Davidson, creator of the KOCE-TV
Storefront Theater Live Series. The performance will be
re-broadcast in the fall, during Spanish Heritage month. In June,
2005, Greenberg performed Dona Sangre in the
invitational European Women’s Theatre Festival in Tornio Finland.
The September shows at Grand Central are part of the Orange
County Center for Contemporary Art’s (OCCCA) 25th
Reunion Show. Dona Sangre premiered in May, 2005 in
Laguna Beach, at BC Space.
About the performance
(Give Blood) is a story of seduction, betrayal, slight of hand, and
cultural ambiguity. Greenberg unravels the fall of “Grace,” a
Caucasian orphan raised by a Mexican maid on a Santa Barbara ranch in
the 50’s. Shipwrecked off the coast of Baja, Grace survives by
adopting a brown face and joining a group of nomadic female rancheras.
Dona Sangre explores living with a fractured cultural
identity through the voice of Grace in this merged-media epic poem,
set in 20th century Baja.
steaming with all the passion, poetry, melodrama and violence of a
post-modern morality play, alternates between text, traditional
Spanish songs (sung acapella) and movement within a cabaret format.
Projective media including video, marionettes, ventriloquism and masks
are also woven into a lush and magical narrative.
More about the artist
raised in New York, Greenberg began her professional stage career in
New York City, under the tutelage of theatre icons Stella Adler and
Wynn Handman. She performed both in leading and ensemble roles in
various off-broadway and regional houses including: La Mama, Theatre
for the New City, Colden Center of Performing Arts, Playwright’s
Horizon, and The Medicine Show Theatre, where she was singled out by
The Village Voice as a “spellbinding performer.”
relocated to Seattle in 1986, where she continued to work in
professional theatres such as Seattle Repertory, Alice B. and Theatre
for the New City. Following a gradual and unsettling period of
disenchantment with the commercial theatre, Greenberg unveiled her
unique theatrical voice with the premieres of The Cosmic Accident,
(Bumbershoot Arts Festival), I Like To Watch, (Center of
Contemporary Art), and Carne Vale, (On the Boards). In 1990,
Greenberg moved to Los Angeles and created HEIJERA productions, a solo
and large-scale performance company, which produced the critically
acclaimed Dreams of Flight, No Codes, phases of the
LOON and Dark Moon of Lilith . Ann Marie Welsh of the San
Diego Union Tribune has called
Greenberg’s work “smoothly unified, formally controlled and deeply
moving...her carefully crafted work seems utterly authentic." Welsh
went on to rate Greenberg’s "phases of the LOON" number five,
out of the top ten dance performances in 1996, on the heels of Pina
Bausch’s “Nur Du.”
Greenberg uses multi-media to explore alienation with particular
attention to issues related to the mythos and reality of living as a
woman. In the words of the artist, “ My work focuses on
displaced characters dreaming and living in the real world. A
spectator in my theatre is caught "between two worlds" as he/she tries
to understand rationally what his/her senses tell him/her is
recipient of many prestigious awards and fellowships including the
L.A. Endowment, Asian Cultural Council Fellowship and L.A. Women’s
Theater Foundation, Greenberg has performed her work and facilitated
workshops in national theatres, galleries and academies in Europe,
Russia and Japan.
My work focuses on displaced characters dreaming
and living in the real world. I work between the extremes of pedestrian
and theatrical time and space, using the grotesque image as metaphor,
heightened gesture and archetypal characterization. Resisting closure,
the grotesque object or persona impales us in the present moment,
emptying the past and postponing the future. A spectator in my theatre
is caught "between two worlds" as he/she tries to understand
rationally what his/her senses tell him/her is irrational.
Greenberg uses multi-media (text, sound, movement,
video, slides, masks, objects and puppetry) to explore alienation
with particular attention to issues related to the mythos and reality
of living as a woman.
reviewers have said about Dona Sangre
"It is intriguing to see a solo performer lay herself on the line."
--Gene Warech, The Laguna Beach Independent
"Greenberg is one of the most cutting-edge performance artists in the
area. The commitment she has to her vision is truly admirable,
especially in today's cultural climate. She has a unique vision for
exploring the role of women in society that reaches back to ancient
mythology and then swings forward to the present.”
--Tyler Stallings, Laguna Art Museum chief curator-as quoted in the LA
Times: Coastline Pilot.
"Greenberg is an extraordinary talent. A powerhouse of vocal and
--Esko-Pekka Mattila, Pohjolan Sanomat, Finland
"Dona Sangre combines English with Spanish, hopefulness with angst,
ethereal affirmations with visceral, often sexual pronouncements. It
has a shipwrecked aura, reminiscent of Shakespeare's "The Tempest."
--Liz Goldner, OC Metro
reviewers have said of her past work
The Village Voice
called Greenberg’s work "riveting and cathartic."
Of "Dark Moon of Lilith" Anne Marie Welsh wrote:
"Greenberg practices what can only be called transformational theatre.
She’s good at it too. Really good at it. Unlike so many performance
artists who take to gallery spaces with ideas but little technical
skill, Greenberg is both gifted and well-trained in acting, singing,
dancing and the visual arts. She is an intuitively sharp performer."
“It is fortunate that there are such
socially lucid voices as performance
artist Aimee Greenberg, whose last piece "No Codes" is a haunting and
thought-provoking masterpiece of high art."
"Expect nothing less than a visual
tour-de-force in "Dreams of Flight." Pure poetry in motion."
Interlocken Theatre Arts
"Greenberg's portrayal of a fragmented mind in "I Like to Watch" is