Some two years ago, French born Australian multi-disciplinary artist/choreographer, Cloé Fournier, teamed-up with dramaturg Peter Maple, and created the fierce, fiery crucible that would one day eventually forge a theatrical dance performance hot enough to melt the preconceived truths of accepted wisdom.
Inspired and pushed to break new boundaries by a new mentor/dramaturg, Vicki Van Hout (an Indigenous recipient of the Australia Council Dance Award and with a life-time of resplendent achievements) Cloé Fournier recently assembled a company of brave, brazenly talented women dancers and her long-gestating dance creation, MEA CULPA exploded onto the stage.Continue reading MEA CULPA : NO-ONE IS IN CHARGE OF ME BUT ME→
FORM Dance Projects will present MEA CULPA, a gutsy new dance theatre work from French-Australian multi-disciplinary artist Cloé Fournier at Riverside Theatres on October 18th and 19th.
Featuring intriguing movement and spoken word, MEA CULPA depicts the dramas played out amongst seven female bodies, in a futuristic society, who bear the pressures from an ever-present invisible power, referred to as “IT”, which keeps them in submission.
FORM Dance Projects and Riverside Theatres will present a new dance theatre work, plenty serious TALK TALK, by acclaimed Indigenous dancer and choreographer Vicki Van Hout from 30th August to 1st September.
An explorative work delving into the compulsory community consultative process involved in Indigenous art making, plenty serious TALK TALK lays bare the full complexity of negotiating culture across disciplines, genres and eras.
RED pushes emotional buttons as it portrays a personal story about a dancer’s ordeal with a life changing disability. Written and directed by Liz Lea (London Contemporary Dance School), who also plays the part of the dancer, she wrestles with issues of loss, love and time passing.
Pulling heartstrings, RED has tragedy as its core but this show is anything but a downer. Having used the beat of her feet and a sense of humour, she weaponised herself against her condition.
Lea communicates patently and with a quick and delicate wit about human sensibilities of illness, whilst all along, never stopping to entertain. With a twirl of her tongue, she turns the audience’s discomfort firstly into tittering, then into giggling and finally into lurid laughter. When her heart leaps, Lea’s audience again follows her with all of their endorphins, leaving their stress hormones at the box office.Continue reading LIZ LEA’S RED @ THE RIVERSIDE→
LONG GRASS tells the story of living rough in Darwin, and mixes traditional Aboriginal mysticism with the harsher realities of indigenous life. The show touches on many issues facing the Aboriginal community there: unemployment, domestic and alcohol abuse, and it is hard to imagine the story being told would be anything but depressing, but the contrary was true: LONG GRASS was charming and captivating at every turn.
The term ‘long grass’ is applied to the Aboriginals who live on the fringe, homeless yet not without a community of their own. The influx of ‘New Australians’ to the top end receive housing, yet the Aboriginals camp out while the police and social services look the other way. Continue reading Long Grass @ The Everest→
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