• PEARSONWIDRIG DANCETHEATER has gained an international following for work which transforms the familiar into the mysterious, the subversive, and the intimate. Creating and presenting "American dance theater at its funniest and most compelling" (NZZ, Switzerland) since 1987, they have toured extensively throughout the US, Europe, Latin America, and Asia.

• In New York City, their work has been produced by the major dance venues including Lincoln Center, the Joyce Theater, the City Center Fall for Dance Festival, DTW, the Kitchen, Central Park SummerStage, Symphony Space, Danspace Project, P.S. 122, The 92nd Street Y, and Dancing in the Streets. Foundation support includes the NEA, NYSCA, NYFA, NPN, the Rockefeller, Altria, Harkness, Jerome, Joyce Mertz-Gilmore, O’Donnell-Green, Swiss Center and Sequoia Foundations, the American Music Center, the Asian Cultural Council, and Arts International. Video specials have appeared on the national television networks of India, South Korea, Mexico and Greece.

• 2009-11 engagements include: touring Unmoored (Love Letters to New Orleans) throughout the mid-atlantic region including a return engagement at the Kennedy Center; the development of the new works The Sky is Falling, The Sky is Falling and Kami: A Season of No Regrets with an original score by James Nyoraku Schlefer commissioned by the O’Donnell-Green Foundation and the American Music Center; and Chile (OTUX Dance Company), China (Shanghai Theater Academy), India (Meher Theater), Korea (Daejeon City Dance Company), and Slovakia (funded by the Trust for Mutual Understanding). Sara Pearson and Patrik Widrig began full-time associate professorships at the University of Maryland at College Park in the fall of 09.

• In 12 evening-length works and over 30 smaller company, duet, and solo works for the stage, Pearson and Widrig’s choreographic aesthetic extends far beyond the body. The audience is as likely to see 300 oranges, swirling arcs of salt, or a 200lb block of ice being smashed - images that delightfully shock the senses and awaken the heart – as they are to be irresistibly drawn in by their "electrifying, lush, and delightful" dancing (Dance Magazine) and their "extremely original" movement vocabulary (Calcutta Times, India).

• Through dance, text, and video, the ideas they explore range from the socio-political Unmoored (“Heart-wrenching and wryly comic.” [The Washington Post]), to the elegantly eccentric dance drama Sayonara, Dear, to the poetic Thaw (“Carries enough everyday magic for several productions.” Eva Yaa Asantewaa), to the mystical The Return of Lot’s Wife ("unfolds with the pulsating rhythm of a carefully crafted poem - one part Woody Allen narrative, one part prayer." [The Daily Gazette, Schenectady, NY]), to the historical Alpsegen (in which Widrig takes a critical look at his native Switzerland’s role during WWII), to their early, emotionally charged duets Partners Who Touch, Partners Who Don’t Touch and Heimweh (homesick), to the "most amazing! most enjoyable!" (The New York Times) Ordinary Festivals, which has been seen by over 20,000 people on three continents.

• In their site-specific and community dance/theater/video installations, habitual assumptions of what art is, where art happens, and of who participates, are broken wide open. These projects have taken them from rowboats in Central Park to the Great Lawn at Jacob’s Pillow to the Eiun-In Buddhist temple in Kyoto to the modern architecture of I. M. Pei’s Portland Museum of Art and to Wave Hill, the bucolic estate in the Bronx. Their most recent site-adaptive work, Paradise Pond, is a 90-minute colorful visual feast, having premiered on and around the campus pond at Bates College involving PWDT and over 100 festival dancers, community participants, and musicians. The work marks the fourth major collaboration with Obie and Bessie award winning composer Robert Een and was described by festival director Laura Faure as “the most creative, transformative, visually beautiful and successful production we have ever mounted in our 25 year history.” Their site-adaptive extravaganza A Curious Invasion features 8-88 performers, 24 haystacks, 10 fans, 5 sprinklers, 4 TV/VCR’s, and 2,000 ice cubes. Elizabeth Zimmer of the Village Voice writes, "In over a decade of watching Wave Hill events, I’ve never had such a good time. It really was perfect." ACI has been performed at Gilsland Farm Audubon Sanctuary, Falmouth, ME, 97, commissioned by the Bates Dance Festival; Wave Hill, Bronx, NY, 01, co-commissioned by Dancing in the Streets and Wave Hill; Dartmouth College, commissioned by the Hopkins Center, Hanover, NH, 03.

• Collaborations with composers have formed a vital part of their artistic vision and include music created and performed live by Robert Een, Andy Teirstein, Philip Hamilton,, Carman Moore, and Hollywood composer Carter Burwell, who created "one of the finest scores for modern dance" (Back Stage) for The Return of Lot’s Wife.

• With a deep sense of humanity at its core, their work remains at the cutting edge, making connections between seemingly disparate worlds and continually exploring the most central issues of art and life - those that divide us and those that, through a subtle shift in understanding, have the potential to unite us.

• World renowned master teachers of sentient technique, inspired improvisation, and inventive choreography, as guest artists Pearson and Widrig have conducted numerous residencies at New York University, Virginia Commonwealth University, University of Utah, Wesleyan University, UW Madison, Keene State, Oberlin and Antioch Colleges, the Bates Dance Festival, the Laban Centre in London, the Chang Mu Arts Center in Seoul, Korea, the Instituto Nacional de Bellas Artes in Mexico, the New Zealand Schools of Dance in Auckland and Wellington, and in India at the International Festival of Dance in New Delhi, among many others.