Boyd’s signature style, her love of ellipses, comes from a distrust of language and a rejection of the hierarchies it brings in tow,” writes playwright and director Guy Zimmerman in his Introduction to in the plain turn of the body make a sentence: Two Plays by Sissy Boyd. In “Green Shoes,” a dancer returns to the studio of an artist to reclaim his obsessive drawings of her. “Then. The body” portrays the sadness and tragic memory loss of Ma, an aging dancer, reviewing before rehearsal with her adult daughter. In spare language taut as a contracted muscle, dancer Sissy Boyd writes body as mind and mind as movement, on the broken edge of human will and desire.

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