In Two Greenberg incorporates projected video as an integral element in the choreography. The work investigates and undermines ‘either-or’ dualities by offering a layered sensory experience with multiple potential points-of-view, compelling the audience to make choices as to how to experience the piece. Live images from onstage cameras, operated by the dancers, are juxtaposed with found film fragments.
Greenberg also expands upon his technique of collecting movement material ‘verbatim’ from videotaped improvisations by presenting the source video to the audience as dancers perform in unison with his projected image. Jennifer Dunning wrote in The New York Times about the ‘new sophistication’ Two brings to the current discourse on dance and media.