In the quiet of strangers, a poem rises with tears of relaxation Body tingle of bass, eyes closed in calm reluctantly to open on bodily created space Listen, watch, behave unexpectedly in an immerse of active peace found in the inspired breath of unknown sharers.
“We place ourselves in the middle of inter-connected things, we watch ourselves in a space of infinite possibilities and potential: finding each other between a square and an octopus.” Final sentence: Artist Statement for xheas part of Liveworks Festival of Experimental Art at Carriageworks.
Liveworks is a festival of contemporary art held annually. With performances, installations, virtual reality and beyond it stands as one of the most anticipated and innovative arts events in the Sydney calendar.
Performance Space and Critical Path are excited to partner on the Experimental Choreographic Residency, a three-week residency focusing on experimental choreographic practice from the 7th to the 25th of May.
The residency is open to both artists and collectives interested in developing innovative, bold and experimental approaches to choreography. The residency will provide a project budget (up to $7000), a venue at Critical Path for three weeks, production and technical support and creative feedback from both organisations.
Applications close 5pm, Thursday 25 January 2018. More information is available at:
FALLING WOMAN is the last major work in the Performance Space’s BURWAN (ISLAND) program at Carriageworks. Its five show season ends tonight.
FALLING WOMAN is an interdisciplinary work, a combination of physical theatre, and immersive video. It is a surreal fairy tale or perhaps a dark dream with the falling woman dragging her three legged chair through a bucolic Australian landscape. The tormented Falling Woman (Alice Osborne) comes upon The Witness (Regina Heilman); a mysterious stranger in gold shoes. For audience members, the Witness may be Mother, individual or societal Conscience or some other superior being or mind.
The work was created by Halcyon Macleod and theatre maker Alice Osborne. The acting and movement is beautiful and the theme intelligent. The falling woman’s fight for survival is set against video artist Sam James’ entrancing landscapes of rural NSW. Appropriately, the soundtrack performed live includes an instrument made from a discarded chair. Phil Downing (composer and sound designer) meets the challenge of this work and sustains the difficult journey.
The Falling woman is faced with obstacles which she attacks in a space where there appear to be no rules. The audience is forced to part and shuffle into tight spaces as she pushes through, almost oblivious to the affect she is having on those around. We are told that she has taken strong sleeping pills.
With the clash between the Falling Woman and the Witness, inevitably one of them has to be destroyed.
This is a beautiful yet harrowing work with at times a little too much going on.
Part of the ‘Score’ Festival of Sound and Movement presented by Performance Space at Carriageworks, this is a fresh, challenging work by Chunky Move from Melbourne, directed by and choreographed by Anthony Hamilton. Their current Sydney season is part of a current national tour.
Hamilton uses spoken word, repetition of sounds, repeated phrases of movement and improvised movement sequences to follow human evolution from primates to robots and space exploration and back again. It celebrates our primal need to interact with one another. Director and choreographer Antony Hamilton came up with his new show after asking himself the questions:- what if I created a work from ideas he had discarded in the past? What would it mean to take these ideas that had been left, and instead keep everything?! Continue reading Chunky Move’s Keep Everything→
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