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Gisli Örn Gardarsson, Metamorphosis, Vesturport Theatre, photo Eddi
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Like Gisli Örn Gardarsson in this image from Vesturport Theater’s Metamorphosis (from Iceland touring to Tasmania’s Ten Days on the Island, Sydney Theatre Company and Brisbane Powerhouse), RealTime 89 dances. We preview the forthcoming
Dance Massive in Melbourne (a rare attempt to build a sustained event that brings together dance artists and markets their work internationally);
review performance in the Sydney Festival (celebrating choreographic intelligence and passion in theatre works); and take in
dancefilm in Brighton (UK) and the remarkable brand new
performance and media arts centre, EMPAC, in New York. Virginia Baxter notes in her Dance Massive preview the range of choreographic/directorial preoccupations in the event but also the way they turn on the points of transformation and mutability. John Bailey applauds
Byron Perry and Anthony Hamilton’s I Like This in which visual design is “a character almost in itself, with hundreds of perfectly executed changes whose sometimes stroboscopic effect makes lighting operation appear a form of choreography in its own right”. Likewise Doug Leonard in Brisbane revels in
James Cunningham and Jondi Keane’s Tuning Fork’s dance of men and objects—or are they just working? Philipa Rothfield observes the architectural imperatives that play a shaping role in
Shelley Lasica’s Vianne: “There is a play between the ways the bodies are shaped by their context and the agency of those bodies. The audience is also held accountable for its engagement with the work”. In New York, Deborah Lieser-Moore finds that the work of performance group
Witness Relocation is rooted in dance, just as we did when we saw the
Nature Theatre of Oklahoma’s amazing dance outbursts in No Dice in the Sydney Festival. Elsewhere in this edition, the evolution of the screen is a recurrent theme, in
urban spaces, in
museums and in the sky and on footpaths in the magic of Adelaide Film Festival guest
Rafael Lozano Hemmer. But there are other moves in art than dance and screens, like
DV Rogers’ earthquake art in California,
Joyce Hinterding and David Haines explorations in odour and Melinda Rackham’s in
organic and intelligent materials for the Samstag Museum. Steps forward, steps sideways; intriguing moves. RT
RealTime issue #89 Feb-March 2009 pg. 1
© RealTime ; for permission to reproduce apply to [email protected]
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