In darkness Lay stands next to her screen self; as the giant shadow of her arm descends it momentarily illuminates her as if cutting her down until the arm in the film repeats the motion. It engenders destructive trauma and mental illness. The work is set in the context is of the GFC and informed by the Occupy movements. Along with the subjects, the work calls on the talents of three skilled performers—Nancy Denis, Imat Akelo-Opio and Effie Nkrumah—and singer/songwriter Aminata Doumbia who share the performative weight, introducing lightness where it’s needed and importantly, acting as companion narrators for each of the women as they recount horrific details of lives rent by traumatic events in Guinea, Sierra Leone, Kenya, Eritrea. The songs form a continuous set, though the poetry covers a wide range of ages, from the perspectives of a 12-year old or someone recalling childbirth or contemplating death. I feel like we can rise above these difficulties. I want to work with presenters and producers we respect in a collaborative way and invite them into the making. You’re covering a lot of council areas and a very big and diverse population. A lot of us have known this of the Coalition for a long time, but the Government’s gross misbehaviour has made it clear to all and sundry, just as has the Tea Party-Republican ‘coalition’ in the US—but here the counter-reaction, as seen in the Queensland election, has been incisive (Campbell Newman’s first Captain’s Call was to eliminate the Premier’s Literary Awards). You need to get outside of this very complex, very tangled sphere that we move in and see it from a bird’s eye perspective so you can be ready to dive back in with energy. This saw the likes of performance photographer Heidrun Löhr, actor Uncle Jack Charles and writer and publisher Katharine Brisbane engaged in discussions that reminded us of important facets of our theatre history, taking it beyond mythology and text-book documentation. A frumpy, respectable dress is shed to reveal gold beaded epaulettes on a glamorous frock set off by orange shorts. For a writer from a new generation, hope is beset by despair. Back from filming, we are asked to share with the group our works-in-progress. We’re really happy we attract a range of ages and people at different stages of their careers from early to mid to established artists. The audiences can interact and the artist is right there talking to them and ‘performing.’. In the country town where my family lived in post WWII rural Australia, there were homeless Aboriginal people, a resident population, who lived in vacant unkempt grassed blocks (they never seemed to be able or want to ‘squat’ in the numerous derelict houses). Ostensibly about our relation to the object, it seems to me to be an attempt to displace our sense of the human. Köner has previously been commissioned to create music for silent films for the Auditorium du Musée du Louvre, Musée d’Orsay and Centre Pompidou. Take it.”. The poem was constantly disrupted, the voices edited to fall in and out of unison, and cut up to create a stuttering effect. Innovation, reinvention, optimism: the message is relentlessly upbeat, but the enthusiasm is driven by a pulsing anxiety that is all too evident. As part of his Prospectus For A Future Body (commenced in 2011) he analysed video documentation of Tasumi Hijikata’s Butoh performance A Summer Storm (1973), charted his bodily movements, then programmed a sequence of electrode triggers to involuntarily twitch and flick a performer’s muscles like a controlled mannequin mimicking the original performance. There’s a school, a community hall and that’s about it. According to Executive Director Lars Nittve, M+ “means museum and more, museum and beyond.” The plans presented to him by the Hong Kong government, he says, were “very ambitious,” both in scale—the footprint was to be some 45,000 square metres —and in concept. I’m sure I saw Rodin’s Thinker, but that may have been the wine. The music could also have embraced conflict and disruption, to better capture something of the complexity and politics of its themes. Inspired by stories of Australian journalist Sophie McNeill, director Melissa Cantwell eschews any traditional theatrical narrative arc to piece together a montage performance that echoes the tales and lives “from the rubble” of human conflict. Performing ‘the body’ has provided a secure base for gender politics (fuelling chauvinist piercing and feminist flaying). This is common practice in ballet companies where a shared dance language and process of embodiment is assumed to exist even though classical dance training is culturally specific and there are a number of differing classical styles. It’s performed in a theatre, the actors sitting with and moving about the audience with cameras trained on them, their images projected onto the cinema screen. We can empathise with loss, but how do we comprehend, and accept, anger directed at us—in our minds as if at some other whites, outside the theatre? In Stampede the Stampede, Darbyshire is interested in the sensuous experience of choreography, but choreography understood as including the performer’s body, sound, light and stage objects. The universe tests us; it is about a balancing act and a randomness that cannot be predetermined. The book is thus a product of the axiom that cheap-and-quick printing and cut-and-paste formatting are aesthetically superior to more manual production values. Nevertheless, there are some important differences between the testimonies performed here and those offered by Asylum. He himself cautions, “It’s terrible hubris to say this is a religious art. How much does the job mess with or support your personal life? 46, Théâtre des Bouffes Du Nord, On the Harmful Effects of Tobacco. I am not, however, conflicted by the fact that I love clothing: design, cut, texture, fabrication. Now and then, My Body Is Your Party by the early 2000s USA ‘princess of Crunk&B’ Ciara interrupted the poem, her lyrics alluding to ideas about the body as something at once present and unavailable. Atypically, they have not been mentored by the local greats, but have received their first artistic formation in Europe—Eke, notably, with Marten Spangberg. It charts the formation of queer male sexual identity from individual to collective, the home-building efforts to organise a community and the transformations that the individual undergoes once he joins the collective. Then Daniel Saeed tells his story of leaving Iraq, aged 13 and full of bravado: when he offers to drive the getaway car, his mother tells him not to be ridiculous. For its current iteration, Blacktown Arts Centre brought artists James Brown, Clare Britton and Matt Prest into the mix to enable the work to realise more complex dramaturgical and design possibilities, as well as engage a new community of children in the process. We wonder just where she’s been—attempting to ascertain a sense of self regardless of the gaze with which we construct her? Now, he says, “Selling contemporary work nationally is easier than it’s ever been.” This is partly because of a responsive new generation of presenters. Walsh opened the Moorilla Museum of Antiquities in 1999 in the original Roy Grounds-designed house on the site he’d purchased, holding parties at which his collection could be viewed in formal cabinets. Most interesting is its insistent use of the second-person, which due to the ambivalence of the English “you” always already includes the audience in its address. And how can they collaborate? It is a privilege to witness original work of such calibre in this unexpected space. Watching Long Grass I thought of Vicki Van Hout as an amazing ball of energy like these storms that come out of nowhere to energize, create and be gone again before you can blink. RealTime issue #125 Feb-March 2015 pg. We might not change the world, but we can at least contribute to changing ways of thinking. Tonight I have THREE songs on MTV tune in to hear Run, Chosen Ones and Emotionally Tethered! This initial aura of inertia associated with the fat body will be dispelled over and over in Nothing to Lose, the performers revealing persistence, dexterity and, as their defiant gaze confirms, pride. In the end, she is forced to have an abortion and then stoned. Linde is director of Melbourne’s Centre for Style, an exhibition and retail fashion space that blurs the line between gallery and commercial boutique. Unfortunately, when it retreats back into movement exclusively, or when Mee’s original text strays too far from Euripides, as in the Bridesmaid sequences, there is a subsequent hollowness, as if this referential form needs all of its elements knitted together for us to experience the full weight of the damning critique. Something good is happening in Vancouver contemporary performance. “Most men probably have, where it appears weak to have the crying disease. Ganzfield Installations build on the sensory deprivation experiments of the 1960s, testing the ‘snow-blind’ experience of skiers as well as the disequilibria of aeronautic pilots. One artist has completed her commission, two are about to and a fourth is moving towards being commissioned. Some pieces are about playing with an idea. There is some fine writing for strings, evoking the stillness of outback summer heat followed by soothing rain. 1, is over. Living in close quarters is intense, but in Kyu Choi’s words “more Asian”—true to the philosophy of meeting on one another’s cultural ground. Detention damaged all who endured it but it wrought particular effects on families. You’re having a deep artistic dialogue with artists, something that has always happened at Performance Space but this just means that we’re giving a bit more time and weight to that process. Does the underground want to be overground? The howling, narcissistic crescendos (“me, me, me, meeeeeee”) that end each movement, plunging the theatre into darkness and silence, presage a negation of the self that can only be brief and temporary—the ego, insatiably hungry, must always return to cannibalise its host. Peter Cossar’s menacingly besuited Agamemnon opens the show with Mee’s prophetic monologue: “I see that there are acts/ that will set an empire on a course/ that will one day/ bring it to an end.”, The pace and the passion don’t let up from that first powerful moment to the final speech of Iphigenia incandescently delivered by Steph Tandy as she embraces her matrydom: “What would you have me do, mother?/ Stay at home and make a decision/ about the draperies in the bedroom?/ Or get a job in some law firm?/Or do social work?/Or try to preserve the environment?”. Both the digital and the physical will continue to be important to Flatline, but our focus is on their combination. Loving Repeating leaves no doubt as to the potent musicality inherent in Stein’s writing. There’s the occasional rhythmic knee-bending, weight-shifting and some head-swinging. That sort of stupidity has bled into the theatrics of our shows. From outside the spheroid, the waiting queue watches flashing lights and changing hues, keen to get in. Fake It ‘til You Make It sees Kimmings sharing the stage with her partner of seven years, Tim Grayburn, who has never performed before. Director Corey McMahon’s montaging of live action and projected image, though not innovative (Canadian filmmaker Atom Egoyan employed both scrim and video feed in his 2006 production for Beckett’s centenary celebrations), is nevertheless an effective solution to staging a play originally written for television, its disturbing intimatisation of a mind under remorseless psychic assault undiminished by the shift in medium. There are unusual tales, striking word pictures and some immediately catchy melodies. Sandhyas! In Eh Joe, we watch through a scrim as Blackwell, in his “stinking old wrapper” of worn dressing gown and slippers, shuffles paranoiacally around Ailsa Paterson’s monochromatic, vaguely fabulist set that telescopes weirdly towards an upstage door. Much ink has been spilled lamenting the rise of the memoir in contemporary publishing, and while it’s debatable whether this turn reflects a culture of narcissism that interprets all experience by turning inwards, it seems without doubt most examples subscribe to a rather conservative notion of the self. The lights shift; we are spotlit. Meanwhile in World War Z, the traumatised zombies are reborn as an Other beyond Others. 45, Anne Grimm, Richard Morris, Marilyn Forever, Gavin Bryars, Adelaide Festival of Arts. The long-lived biennial APAM, established by the Australia Council for the Arts in 1994, is a major platform for artists working across a remarkable range of practices in theatre, contemporary performance, puppetry, dance, music, live art and performative installation, including always distinctive works by Aboriginal and Torres Strait Islander practitioners. For many reasons, people who are making experimental work don’t often get a chance to show it to a mainstream audience. There’s a very collegiate atmosphere and people are not too possessive about ideas. He belonged to a ‘line of clouds’ totem group that included anchovies and stingrays. But young children are very good at confounding attempts to second-guess their reactions. A violent assault by one of her captors causes the container in her stomach to rupture, releasing an enormous quantity of the drug into her bloodstream, accelerating neural activity and triggering Lucy’s transformation into a kind of superhuman (a state that also involves the swift acquisition of a snappy little black dress). Rose has passed a dragnet through contemporary culture, from the high to the low and the experimental, picking up authentic Rosenberg modified violins and art works, as well as violin-themed nick-knacks and smut. Tregloan will principally show documentation using video, books and interactive websites representing works that are “participatory and in-location,” like the film of Renae Shadler’s Yawn (2015), part of her In Ya Ear series, made with commuters in a railway station. The audience, ushered between venues like visitors to the underworld, is divided in half for the first two dramaticules, which run twice in succession, then we are reunited post-interval for the climactic Krapp. And she’s using all of that as well. A short film we view later—FLOORDROBE: redressed (Kelly Lawn, filmed in collaboration with Yvette Turnbull)—asks of a tuxedo fabric ensemble, “Is it a tuxedo or a wedding dress?”. Phillip Adams’ BalletLab is related to Guerin through a shared postmodern sensibility, use of culturally and socially situated objects on stage and a penchant for narrative, but has for years now been moving away from conventional choreography and towards static, highly iconographic movement, and eliciting highly ecstatic states of stage presence. She confides to us, “Maybe I missed my chance to say goodbye [to my grandmother]. When they arrive in the United States, he and his friends are interrogated for more than 24 hours before being deported back to Australia, escorted by air marshals. We told one person that we were coming and 70 people turned up. Other events, such as the biennial Going Nowhere program, are focused on commissioning new work, providing platforms for responses to climate change by artists and exploring more sustainable modes of artistic exchange. Jonathan Jones worked with Tom Nicholson (Vic) to produce an artist’s book, Murray-Darling Views—Evening Shadows. Rose Lee Goldberg, author of the seminal book on performance Performance Art: From Futurism To The Present (1979) and founder and director of New York’s Performa festival, has curated a travelling exhibition of performances, some stand-alone screen works, others documentation.
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