If you would indeed behold the spirit of Death, open your heart wide unto the body of life. For Life and Death are one, even as the river and the sea are one... For what is it to die but to stand naked in the wind and to melt into the sun?' Kahil Gibran. (The Prophet).
A fusion of stylised performance, conceptual theatre and video posturing as 2D moving image. This installation, which incorporates performance and audience viewing areas, challenges traditional modes of viewing conceptual theatre by physically defining the audience's field of vision. A parallel can be made between this definition of space in theatre terms and the focussing of space used in television, 'the Cathode Ray nipple'* which supplements real life experience. Perhaps that for a great proportion of us, TV has become synonymous with the need to conform and suppress our individuality, a 'secondary reality' which creates dialogue with our own perceptions of 'truth'. The choreography in the piece uses these concepts as treatment within a visual poem that deals with the omnipresent fear of mortality.
Epitaph is a rendering of our final moment of existence and our imagination of what lies beyond. The compression of one's life into a millisecond, and the expansion of this millisecond into eternity.
Performers: Robin Blackledge, Chris Curran, Julienne Lorz, Helen Parker and Liam Scott. Soundtrack by Bruce Douglas Bill Curwen
The Disposable Heroes Of Hiphoprisy
Funded by New Collaborations/Arts Council of Great Britain and North West Arts Board, performed at Bluecoat Arts Centre.
[LESS]If you would indeed behold the spirit of Death, open your heart wide unto the body of life. For Life and Death are one, even as the river and the sea are one... For what is it to die but to stand naked in the wind and to melt into the sun?' Kahil Gibran. (The Prophet).
A fusion of stylised performance, conceptual theatre and video posturing as 2D moving image. This installation, which incorporates performance and audience viewing areas, challenges traditional modes of viewing conceptual theatre by physically defining the audience's field of vision. A parallel can be made between this definition of space in theatre terms and the focussing of space used in television, 'the Cathode Ray nipple'* which supplements real life experience. Perhaps that for a great proportion of us, TV has become synonymous with the need to conform and suppress our individuality, a 'secondary reality' which creates dialogue with our own perceptions of 'truth'. The choreography in the piece uses these concepts as treatment within a visual poem that deals with the omnipresent fear of mortality.
Epitaph is a rendering of our final moment of existence and our imagination of what lies beyond. The compression of one's life into a millisecond, and the expansion of this millisecond into eternity.
Performers: Robin Blackledge, Chris Curran, Julienne Lorz, Helen Parker and Liam Scott. Soundtrack by Bruce Douglas Bill Curwen
The Disposable Heroes Of Hiphoprisy
Funded by New Collaborations/Arts Council of Great Britain and North West Arts Board, performed at Bluecoat Arts Centre.
