A guide to Australian contemporary performance circus physical theatre outdoor multimedia site-specific performance In Repertoire May 2001ISBN0642472378 www.rtimearts.com/~opencity/ [email protected] Sydney SouthNSW1235 PO BoxA2246 RealTime www.ozco.gov.au [email protected] 61 292159000fax9111 Strawberry HillsNSW2012 PO Box788 TheMarrugekuCompany,Australia Council CryingBaby artsfundingandadvisorybody the Australiangovernment's fortheAustraliaCouncil Produced byRealTime i2idesign,Sydney All photographycredits page47 Right Baxter KeithGallasch,Virginia Left Cover photographs KirstenKrauth Design Assistant Editor Editors The Editors www.ozco.gov.au/resources/publications. be requested from theAustraliaCouncil,ordown-loaded asPDFfilesfrom touring.Thesecan also includeotherinnovativeworksavailableforinternational Contemporary DanceandAustralia’s IndigenousArts intheInRepertoire series pages 44-46.Thepreviously publishedvolumesonMusicTheatre, A databaseofcompanies,artists,worksandcontactdetailscanbefoundon theatre andperformancepractices. 43) whichintroduce youtotherecent historyofAustralian circus, physical guide are mentionedinWorks-in-progress (page46)orintheessays(pages38- Some establishedandemergingpractitionerswhodonothaveentriesinthis an astonishingvarietyofartisticvisions,formsandtouringexperience. Nonetheless, mostofthekeyplayersare includedandtheguideisindicativeof and companieswhoatthetimeofpublicationhaveworksavailablefortouring. century. It'sbynomeansadefinitiveportraitbecauseitrepresents thoseartists This guideisasnapshotofinnovativeAustralianperformancetheearly21st Dear Reader BAMBU CO, ARCH circus outdoor
multimedia physical theatre
performance site-specificpuppetry Australia Council Chief ExecutiveOfficer Jennifer Bott guide toocelebratesthedepthanddiversityofthattalent. and sheerphysicalknow-howtopresent atrulyremarkable event.This on thevisionofteamsartisticcreators whomobilisedawealthoftalent innovative theatre performers (notafewofwhomappearinthisguide),and event drew enormouslyon theskillsofhundreds ofAustralia’s physicaland acclaimed openingceremony oftheSydney2000OlympicGames.That A rarely celebratednexusbetween theartsandsportwasseenin identified withAustralia’s famedsportingprowess. build onaphysicalitydeeplyingrainedintheculture butmore typically traditional influencesfrom Asia andIndigenousAustralia,and,importantly, Our artistsdrawonrichcircus andvaudevilletraditions,absorbnew and physicaltheatre, inparticular, asnewformsofperformancepractice. work. Australiaissynonymouswiththedevelopmentofcontemporarycircus phenomenon towhichAustraliacontributesitsowndistinctivebodyof This re-invention andexpansionofperformanceisaninternational whether architectural, environmental orvirtual. and popularculture. Asenseofspacetoo,isoftenintegraltotheseworks, element, blendinganengaginganddiscursivenaturalismwithstylisedritual place. TheriseofAustralianIndigenousperformanceisanimportant addressing genderandotherpoliticalissuesaswelltheimportanceof innovations are themselvesquiteradical–frequently inter-cultural, Australia andgivevoicetoauniqueculture. Theworksemergingfrom these The resulting newformsofartisticpracticeinvigoratetheperformingartsin notion oftheatre. innovation, andanengagementwithnewtechnologies,radicallyexpandthe between formsandcompanies,thecommitmenttoexperimentation creative team,awidespread fascinationwiththebody, theflowofartists The blurringofthelinesbetweentraditionalforms,anewemphasison traditional artforms,includingtheplay, theopera,circus. What theartistsinthisguideshare, forthemostpart,isadeparture from regimes, newmedia,andstand-upcomedy. installations, site-specificworks,multimediacollaborations,Asiantraining fleas) tophysicaltheatre, performanceart,outdoorspectacles,visualart forms, from circus (intents,intheatres, withoutanimals,withand appear inthepagesofthispublication.Theircreations embracemultiple Some ofAustralia’s mostdistinctiveandwell-travelled performingartists Introduction multimedia 3 4 5 Strange Fruit
The Field
An intriguing ritual of courtship and Strange Fruit specialises in large- discovery, breaking hearts and scale, outdoor public performance bending poles to impossible angles using 4 metre high flexible poles, accompanied by a unique and thrusting performers high above the eclectic soundtrack. heads of the audience. Strange 45 mins, 8 performers Fruit's strong visual and design elements and exceptional Spheres choreography synthesise sculpture with physical theatre. The company Featuring giant luminous orbs from has performed in over 150 which performers gradually emerge, international festivals in 28 countries Spheres is a whimsical look at over the last 6 years. physics, the miracle of birth and humanity's existential relationship to Wistful and funny, breathtakingly planet Earth. This is a night-time simple and yet strange and only performance in which lighting mysterious…sublime. is integral. It features a score by The Australian John Phillips of the folk/pop band, Not Drowning Waving. 60 mins, 7 performers
…like living statues soaring between heaven and earth… Nord Éclair, France
Circus Oz
High flying, sexy, sophisticated, cheeky and all Australian. Formed in 1978, this group of itinerants looted high and low culture, and pillaged from the popular as well as the obscure, to create a contemporary circus that entertains audiences throughout the world.
In 20 exhilarating years Circus Oz has undertaken over 200 performance seasons in over 100 communities in 26 countries on 5 continents. In the past 10 years alone Circus Oz has performed to nearly one million people in venues as wide ranging as a glass opera They are acrobatically amazing, house in the Brazilian rainforests and a 42nd Street theatre in New mentally mind blowing and York. 90 mins, 21 performers & staff
...a rollercoaster experience extraordinarily dexterous, ditsy which is simultaneously comic, graceful, thrilling and therapeutic. and adorable. The Guardian, UK New York Post ...what puts Circus Oz ahead of the class is that everything it does is touched with style and humour. The Times, UK 6 7 Kate Champion Neil Thomas Any qualms about the Face Value The Urban Dream Capsule relevance or importance of In an intrinsically physical A site-specific performance-art performance, Kate Champion installation first performed in 1996. street theatre are utterly heads into the space between A home complete with bathroom, saving and losing face, getting off kitchen, living room and bedroom is on the right foot and finding it in installed in the windows of a major blown away by this superb your mouth, hanging in there and city department store. The actors letting go. A voyage into self- are locked in for 2 weeks or more, and challenging piece of acceptance that is wryly humorous, generating a non-stop interactive told through body language, performance event, a domestic performance art…the true hit spoken word and an inventive opera that grows in collaboration design of façade and framing. with the city's audience. 55 mins, 1 performer www.urbandream.com is the of the Melbourne Festival project’s exhaustive archive. The Kate Champion's movement-based Urban Dream Capsule has toured will undoubtedly be The performance has been strongly extensively in Australia, New influenced by her work as Zealand, Europe and the USA. Urban Dream Capsule. performer and rehearsal director 14 days or more, 4 performers with DV8 Physical Theatre, London. She has created, performed and The Museum of Modern Oddities The Age toured Face Value to three Australian cities, directed Legs on MoMo is a series of public art the Wall in Under The Influence and events encompassing performance, choreographed Company B visual art, installation and museum Belvoir's production of the practices. Fundamentally conceived internationally acclaimed as site-specific work, MoMo is a Cloudstreet. She is presently dialogue between artist, audience creating a new solo show, About and space. Their 2001 project is Face, as well as a new group work, sited in a disused, fully stocked Same, same But Different. suburban hardware store.
As with all the best serious stuff, Champion’s imagery, stories and ideas are hilarious and hilariously moving. She is a rare talent, and whatever she does next must be immediately labelled ‘don’t miss’. The Bulletin
Hubcap Productions
Car Maintenance, Explosives and Love
Physical theatre that blasts preconceptions of women and their relationships. Performer Donna Jackson demonstrates how to love your car, service and tune your explosives and blow up your relationships. 70 mins, 1 performer desoxy Theatre Teresa Blake and Daniel Witton Body Celebration of the Machine founded desoxy in 1990. They have 98.4%DNA being human performed large scale works at the A one woman show directed by Telstra Adelaide Festival, and the Amanda Owen on the ironies and Explores the chemical, physical and Melbourne and Sydney Festivals. intricacies of the body as machine. emotional evolution of humanity, The company has toured to Korea, A physical dive into the internal using a mix of voice, dance, text, Japan, Venezuela, Holland, organs to pulse-racing dance sound and image. Performing in a Belgium, England, Ireland, music, featuring graphics by artist spartan space, the performers Scotland, Spain and Austria. Lin Tobias, punctuating the engage in physical demonstrations acrobatics on three huge screens. of the human species inspired by What desoxy make tangibly 70 mins, 1 performer Aquatic Ape Theory and other manifest in this courageous evolving stories. 98.4%DNA spells performance is 'the body of Donna Jackson founded Melbourne's out the genetic message that evidence that bears the scars of acclaimed Women's Circus which announces the presence of the evolution.' An emotional and she directed for 6 sell-out seasons past. This production has twice intellectual assault on sense and and toured to China. Amanda toured extensively in the UK as well the senses. Owen is a former circus bare back The most perfect fusion of writing as to the Spoleto Festival in 1999 The Guardian, UK rider who has toured and and to Asia Pacific Next Wave in performed throughout the UK, and performance. the 2000 World Dance Festival in Europe and South America. Tokyo. The Guardian, UK 65 mins, 2 performers 8 9
Yirra Yaakin Noongar Theatre
Djildjit
Out of the rivers and waters of ...belli e aggressivi... Noongar country flow stories of the Dreamtime. Using myths and songs based on the waterways and La Republica, Italy marine life in the south-west of Western Australia, Djildjit (meaning fish), a performance for children, blends traditional Aboriginal elements with modern theatre practices. 45 mins, 3 performers
Solid
Solid explores the tension between city and outback, traditional and modern Aboriginal culture, featuring Ningali Lawford and Kelton Pell, "two of the best young Australian actors of their generation" (The Australian). 2 hrs 2 performers, Deborah Leiser/Regina Kage physical theatre Heilmann/Nikki Heywood Yirra Yaakin Noongar Theatre is No (Under) Standing Anytime Western Australia's Aboriginal a room with no air theatre company. Through an In the paintings of Australian artist acclaimed program of performance This is a contemporary Jeffrey Smart, "the most ordinary of and community development performance work whose creative situations are plucked from initiatives, the company offers a impulse was a ‘shared cultural obscurity and invested with point of entry into the distinctive history’ between 2 first generation unexpected status in compositions language, culture and traditional Australians confronting the terror of of quite startling ambiguity and practice of the Noongar nation. Also Nazism and the Holocaust that they unerring completeness." (Edmund in repertoire are Aliwa (co-produced have inherited. Traversing this Capon, Art Gallery of New South with Company B, Belvoir Street difficult terrain and confronting Wales, 1999). In this work, inspired Theatre, 2001) and Alice (performed uneasy silences, they shake up the by Smart's paintings, the slightly by and based on the life of singer acrobat German/Jewish dynamic of skewed reality of the modern world Alice Haynes). perpetrator/victim. They move is inhabited by strange acrobat performs the work acrobat beyond stalemate, begin to listen to personalities. 55 mins, 4 performers (Solid is) a memorable the nature of the performance each other, raise unfathomable production, notable for its reflects the cynicism of the questions and finally make a highly Founded in 1996, Kage is the humour and exploration of individuals within it charged and sometimes humorous creative partnership of Kate unresolved issues that acrobat do big tricks performance work together. Denborough and Gerard Van Dyck, Aboriginals face on a daily basis. the performance is continuously 60 mins, 2 performers who aim to present dance theatre Sunday Times, WA changing. which is both rich and raw in its it persists to be home-made, Works involving Heilmann, Leiser physicality and humour. dense, falling apart and Heywood have been performed at major festivals in For originality, content, theatric- acrobat has been since 1996 Adelaide, Perth, Melbourne, Sydney ality and sheer entertainment, acrobat recognise the benefits of and New Zealand. In this Kage was outstanding. garden weed juice for health collaboration they bring together Sydney Morning Herald the performers train, build the gear, their skills drawn from Suzuki make the costumes, set up, do the method, Min Tanaka's Body No (Under) Standing…is show Weather training and vocal work in immensely satisfying and, acrobat is honest a performance with a score by perhaps most exciting of all, you leading Australian composer Elena leave the theatre feeling good acrobat have toured throughout Kats-Chernin. about the future of new Australia and Europe. choreography. 60 minutes, 8 performers Leiser and Heilmann perform Dance Australia with a psychological intensity… It is a perfect 10 for this physical incisiveness that astonishing Aussie troupe who charges the scenario with defy gravity and good taste with tension and symbolic power. a show that is the antidote to all RealTime those soft-focus circuses such as Cirque du Soleil. The Guardian, UK 10 11 Stevie Wishart ERTH Visual & Physical Inc. The Men Who Knew Too Much
EScape The Garden Virtual Humanoids
Video and sound are everywhere. A giant interactive performance A highly wired interaction of live and But Lisa DiLillo and Wishart play installation with live music. A online performance. Immersed in one against the other – video with landscape environment inspired by the data convergence of the 21st its soundtrack, music with images, prehistoric Australia inhabited by Century, The Men Who Knew Too silent film, live camera images of the huge stilt-walking insects and an Much satirise contemporary player’s instruments and her body aerial spider complete with web. obsessions. cut into pre-recorded footage. They The Garden interprets natural 75 mins, 10 performers EScape to find what's in between. biological dramas and is EScape premiered at the Walker accompanied by original live music. Ascent of Suit Arts Centre, Minneapolis, 2001. 45 mins, 8 performers/technicians 1 hr, 2 performers An ironic expose on the iconic Gargoyles image of the suited corporate SOLO person, the universal salaryman. Gargoyles come to life on the tops 65 mins, 6 performers Explores music and technology of buildings and descend to earth going back to 1000AD and fast Joanna Dudley/Juan Kruz to explore life on the street. With The Men Who Knew Too Much forwards into contemporary sound Garaio de Esnaola extensive experience on heritage combine art, architecture, perform- worlds. Hurdy-gurdy, violin, voice, buildings, the Gargoyles can fly fiery performers… ance, comedy and sound design electronics. My Dearest, My Fairest from any solid structure. creating highly original performance 40 mins to 1 hr, 1 performer 40 minutes, 6 performers/ innovative Australians. works informed by cross cultural A couple sit at opposite ends of a technicians. influences from 13th century Australian composer and performer dinner table. They sing, whistle and Japanese comic Kyogen to Bauhaus Stevie Wishart lives in Sydney and play love music on their favourite Fulfilling demand from arts events South China Morning Post ballet. The group has performed to Brussels. For her, the rub of image, instruments – kazoos, music boxes, and Australian and international popular and critical acclaim at sound and technology from the cow bells, a glockenspiel, an Indian festivals, ERTH has a large festivals in Germany, Singapore and medieval, the contemporary, and harmonium, rattles, a yellow rabbit repertoire of fantastic works. Giant Japan, and toured extensively the virtual, have a sensuality all their and a red bear. Purcell's love songs puppets, stilts, pyrotechnics, throughout Australia. own. She is currently performing undergo transformation as does abseiling, road works machinery EScape with the New York video Latin American music from the 50s and inflatables are some of the …so out there they need artificial artist Lisa DiLillo, and UT with the and Italian opera arias sung to tools utilised in their unique works. breathing equipment to survive. Sydney installation artist Joan French sign language. Ascent of Suit is a great show, Grounds. 70 mins, 2 performers accessible but genuinely peculiar with a wonderful interior logic. ...the piece carefully sustains an Adelaide-based Joanna Dudley The Age episodic narrative...the stereo works with Sasha Waltz, Heiner image, too, is dramatic...A vibrant Goebbels and Thierry de Mey in orchestration of natural and Berlin. She has created works for Virtual Humanoids was a artificial elements. the Avignon Festival, Berlin Theatre wondrous meeting of interfaces; The WIRE, UK Treffen and the Telstra Adelaide electronic art and absurdism, Festival. Juan Kruz Garaio de screen and stage, live and virtual, Esnaola also works with Waltz. He human bodies and computerised choreographed The Rest of You voices…Virtual Humanoids’ with Luc Dunberry and has worked polished, stylised format The live soundscape from Stevie with DV8 Physical Theatre. integrated its digital imagery completely. Wishart...guides you, seduces RealTime you, and deceives you. Addictive. De Standaard, Brussels
A lovely, funny, erudite, romantic, erotic and sensual hour of foreplay, not between bodies but via a weird conglomeration of toys…a greatly gifted pair. Adelaide Advertiser 12 REM Theatre with Sadari Theatre
Frozen Girl
Kooemba Jdarra Indigenous An oddball musical adventure that Performing Arts takes family audiences into the strangest place of all – the human Goin' to the Island mind. A young girl with a crazy family is not sure how much they After seven years on the mainland, love, or care, for each other. After TJ, a young Murri hothead returns she is frozen with fright, an home to Minjerribah (Stradbroke invention by her father takes the Island) to celebrate his 21st family into the girl's head to see if birthday. TJ's family chart the they can wake her. Frozen Girl is Island's comings and goings from told with humour, live and recorded the Dreaming to the present day to music and dynamic dance help the young man to understand sequences. the strong ancestral and communal 50 mins, 4 performers ties that keep him goin' to the island. Therese Collie's play uses REM’s evocative performance style humour as well as dance and is created with leading musicians, musical forms that range from designers and performers from traditional to reggae and rap. Australia and around the world who 90 mins, 5 performers create simple but resonant stories. Frozen Girl was created with REM’s Piccaninni Dreaming partner company Sadari, the second largest theatre company in A performance for primary and Korea, and in conjunction with the pre-school children which Seoul Arts Center, Korea’s flagship introduces elements of Indigenous performance venue where it played culture including traditional to sell-out audiences. Aboriginal dance, didjeridu performance and a Dreaming story. Startling and unique stage 40 mins, 3 performers images. Music from the show still lingers. Frozen Girl provides that Kooemba Jdarra is dedicated to challenging, exotic festival producing innovative contemporary experience that will be theatre that highlights and explores remembered. Indigenous issues and themes while Lowdown providing a nurturing environment for the development and empower- ment of new Indigenous artists. It is synthetic theatre at its boldest, most In its generosity of spirit and its powerful theatricality, (Goin’ to the expressive and physical, where…the imagination Island) is a play which will delight Murris and whitefellas alike. stalks unchained on stage. Brisbane Courier Mail Yaschin Ensemble The Australian Mnemosyne The Marrugeku Company
A collage of physical and vocal Crying Baby images inspired by the classic tale, The Little Prince. The production Crying Baby is a large scale The Marrugeku Company was looks at the corruption of childhood outdoor intercultural performance founded in 1994 and is composed innocence and how loss, death and weaving contemporary, historical of Western Australian urban grief become imprinted in memory. and Dreaming stories from western Indigenous dancers and musicians, A non-linear journey in search of Arnhem Land in northern Australia. physical theatre practitioners from poetic logic. The work is spun around an orphan Stalker Theatre Company, and 75 mins, 7 performers Dreaming and its resonance with Kunwinjku dancers, storytellers and the legacy of the missionary musicians from Kunbarllanjanja, a Formed by a group of Adelaide Mr Watson, the first white man in remote community in Arnhem Land. theatre makers in August 1998, the Arnhem Land. These stories are At Marrugeku's heart is a process Yaschin Ensemble emerged from a interpreted by The Marrugeku of reconciliation, not in the sense of masterclass workshop initiated by Company in its fusion of searching for a universal theatrical Netta Yaschin, a performer with contemporary and traditional language, but rather through a Israel's Itim Ensemble, who toured performance styles. Crying Baby process of making performance to the 1998 Telstra Adelaide Festival incorporates the arts of physical that respects difference while with Va-yomer, Va-yelech. theatre (stilt acrobatics and dance), working together. film and traditional Indigenous Absurdly funny, exquisitely dance, music and storytelling. intense, this piece is so 65 mins, 10 performers unnervingly familiar you could well ache from the beauty of it all. Inpress 14 15 Co. Theatre Physical Bizirkus Rock'n'Roll Circus
Wonder Alice Wonder Boyzircus Tango
A trippy reincarnation of the Mad Three fly-gangsta-dope-home-boys Using the avant-garde tangos of the Hatter's Tea Party in a comic hit the pavement in a typhoon of great Astor Piazzolla, Tango spectacle of stunts and hip rave acrobatics, funky rhymes, live explores the perils of intimacy and music. electronic music, DJing, juggling, the search for home. 25 mins, 4 performers slapstick comedy and 70 mins, 4 performers breakdancing. Miss Havisham's Dream 45 mins, 4 performers Sonata for Ten Hands
Bodies fly and slam as the aging More! Joining forces with concert pianist Miss Havisham is drawn back in Tamara Anna Cislowska, the strong time to experience a wedding Includes heart stopping stunts, sensual torsos of Rock'n'Roll beyond her wildest dreams. physical comedy, acrobatics, fire enmesh with 2 dramatic works from 25 mins, 4 performers and contact juggling, whip cracking, Schumann and Brahms. a tower of chairs and a fiery finale. 70 mins, 4 performers & pianist Founded in 1995 by Artistic Up to 60 mins, 3 performers Director Beth Kayes, Rock 'n' Roll Circus has been Director/Designer Carlos Gomes Members of Bizirkus have been exploring the frontiers of and violinist/composer Hope trained by acrobats and clowns contemporary circus and physical Csutoros, Co. Theatre Physical Stacey Callaghan from France, Russia, China, Brazil, theatre for 13 years, winning combines circus, aerial dance and Kenya and England. Synthesising awards and touring nationally and theatre with innovative design and when I was a boy these diverse traditions into their internationally. Sonata for Ten original music to present intensely own unique Australian style, the Hands has played major Australian visual, entertaining and thought Staging our desire to fly against our company creates shows that hurdle cities as well as the Equinox Festival provoking performance. The fear of the fall, the work explores language and cultural barriers. in Noumea. company has performed at the the trust, pain and risk inherent in Melbourne Festival, Perth inhabiting a constantly changing Bizircus is hilarious, clever and …this new venture by Queens- International Arts Festival, Sydney environment—namely our bodies. In great fun. Death defying stunts land’s Rock ‘n’ Roll Circus is a Festival, Singapore Arts Festival and a work based on the experience of come rapid fire as the performers veritable knockout…Sonata in Europe. breaking her back in a trapeze fall, put themselves through the most dances lyrically between drama, Callaghan re-invents circus, amazing contortions. But what circus and music theatre. …there is a perverse dream-like embodying 3 spirited personae who shines through the stunts is The Australian logic within the images…each challenge limited notions of the self music and humour. sequence cleverly incorporates as separate. X-press Magazine story, acrobatics and high-flying 75 mins, 1 performer into a bizarre amalgam. BAMBUCO RealTime Stacey Callaghan is a versatile ARCH writer-performer with a strong history of critically acclaimed solo A 30-metre tall bamboo structure performance and ensemble work. built by a crew of climbers. The Trained in circus, Butoh, Suzuki and Imaginative process of building is a yoga, Callaghan combines physical performance in itself, a 2-week theatre, and comic flair with a territory… narrative—its gesture, one of compelling presence. bridging space. The gesture is singular, the structure complex. The word ‘inspirational’ gets acrobatics with When the construction is complete sprayed around loosely, but it it is used for an aerial best describes when I was a attitude, performance. 2 weeks, company boy…a complex sonata about of 9 plus 6 locals. Elsewhere, fear, fragility, pain, courage and performed with BAMBUCO creates structures healing. specific to sites in seven days and The Australian in collaboration with other fierce abandon. performing groups, as they did on SCAFF with 5 Angry Men at the The Australian 1998 Telstra Adelaide Festival.
BAMBUCO creates singular and visually arresting structures from bamboo. They appear over days or weeks—colossal, implausible. The incongruity of a huge architectural form in the midst of familiar buildings, and the dramatic images created by the aerial crew, combine in an event unlike any other. Then the entire structure vanishes, leaving an empty space that appears occupied, for a period, by an absence. The company has appeared at Australian arts festivals and toured to Manila and Berlin. 16 17 Party Line not yet it's difficult Chrome performance group Steel Fracture Pink Fit scenes of the beginning from With digital projections, large scale the end Three synchronised and syncopated sculptures, live music and an songsters represent all that is crass, audience on the move, Steel An original interpretation of the way sentimental and ludicrous about life Fracture is a multi-layered, outdoor, we relate to space. Physically and love. This work can also be site-specific performance event rigorous and visually entrancing, presented in comedy/cabaret which explores the impact of steel this outdoor performance format. on women's bodies. interweaves dance, video, music 75 mins, 6 performers and text into the landscapes of Sharks desert, suburbs and city and the Divas themes of time-and-space, cultural An exploration of contemporary identity and surveillance. beach culture. A wry and witty On the run from Sydney's Opera 70 mins, 7 performers performance encapsulating House, four famous divas find, as Australia's obsession with sun, surf they pause for breath, that they training squad and sand. have arrived on the streets at sunset. Fans are flung to the A highly adaptable performance Lizards heavens, hoops are lost to the seas event using the vocabulary of sport and notes hang on the wind as as a choreographic and textual Inspired by the Australian outback, Carmen, Tosca, Violetta and Cho inspiration for a series of static these 3 cool, corrugated chimeras Cho San struggle to re-invent the actions and mobile interactions in grace any place with their desert body of the diva in the 21st century. public spaces. Appropriate for grooves and muscly moves. Up to 40 minutes, 4 performers, …dazzled by either indoor or outdoor programs. All works 2 sets x 45 mins or 3 x 30 1 musician the visual gags, Up to 40 mins, 10 performers mins, 3 performers Established in 1992 by a group of not yet it’s difficult is a group This athletic trio presents a mobile female physical theatre and working under the artistic direction feast of performance vignettes with performance practitioners, Party which are of David Pledger to produce original song, dance and instruments. Line integrates the theoretical, the The transmute collective The transmute collective comprises theatrical works, public space Structured episodes create opport- visual and the physical in its new media artist Keith Armstrong, numerous and projects, theatre productions, unities for linking improvisations performance of the feminine in Liquid Gold performer Lisa O’ Neill, sound artist experimental video, film, and using the audience, which often public spaces—theatres, art Guy Webster and interactive imaginative. workshop and cultural development leads to moments of poignancy or galleries, museums, shopping malls A live performance event performed designer Gavin Sade. The premiere programs. The company recently hilarity. Chrome is as effective with a and building sites. in two geographically separate at Brisbane Powerhouse Centre for toured to Denmark's Arhus Festival handful of people as they are with venues with audiences able to the Live Arts was simultaneously The Age and appeared at World Expo 2000 an audience of thousands, having (Party Line create) a vision access the work via the internet. At broadcast via the net from the Site in Hannover, Germany. performed in settings ranging from splendid, a unified image of mind the same time, writers in each Gallery, Sheffield, UK. DISLOCATE world stadiums to streets, piazzas and muscle, offering an venue generate a visual and nyid continue to be a highly to parks, town squares to television. experience of intelligence, interactive experience which can Avoiding the privileging of The Arrivalists physical, intellectual theatre Whatever the conditions, this group humour and artistry, strength, also be seen by those watching computer construct over physical company that revels in the transforms ordinary settings into beauty and sensuality. remotely. Liquid Gold presents one body, this performance examined Interactive street theatre inspired by deconstruction of theatre itself. places of discovery and cultural Sydney Morning Herald. woman's story of reconciliation, a questions of how we the likes of Buster Keaton and Inpress congress. hyperreal journey through multiple conceptualise experience, Charlie Chaplin, this is a mad, timezones and spaces of examine self and others…an acrobatic foray into a film set of uncertainty and warping memory. important breakthrough. melodramatic proportions. 30 mins, 2 performers plus RealTime 25 mins, 2 performers technical staff Three Speed Crunch Box
In this fast, funny, acrobatic work, three absurd stunt people try desperately to get the big trick right. 20 mins, 2 performers
DISLOCATE combines acrobatics, aerial work and absurd humour to create performances suitable for the street, theatres and site-specific festivals and events. They have performed for the Perth International Arts Festival, and the Melbourne and Next Wave festivals.
Bodies knotted up and pulsating, dangerous flying and gravity defying work. The Australian 18 19 The Umbilical Brothers Legs on the Wall
THWAK Homeland
The Umbilical Brothers are world Suspended on a 25-storey winners. Their successes include an skyscraper, accompanied by the 11 month off-Broadway run and haunting Bulgarian/Celtic music of acclaimed festival performances in Australian group Mara! and the Australia, throughout Europe, South Martenitsa Choir, performers America and South Africa. They traverse and descend the imposing also created the voices for vertical stage, aglow with projected Nickelodeon's hit Maisy, and their images depicting the struggle and international TV appearances range courage of refugees and migrants. from Leno to Letterman, CNN to 30 mins, 4 performers Japanese specials. 90 minutes, 2 performers Under the Influence Wildly funny, wildly creative!…a tightly scripted, technically Emotive, funny, erotic and strangely impressive hour of inspired troubling, this production for theatre anarchy by this pair of cartoon spaces examines the compulsions characters sprung to that paradoxically draw people life!…psychic twins, joined in an together and drive them apart. irresistible conspiracy to commit 60 mins, 5 performers comedy!…silly behavior of the highest caliber! Up to the minute Renowned for startling, sensuous tomfoolery in the new and emotion-charged theatrics, vaudeville tradition of Legs on the Wall integrates text, thinking man's clowns. acrobatic skill and aerial imagery in Like Bugs Bunny a no-holds-barred approach to and Elmer Fudd storytelling. Legs on the Wall on the set of challenges expectations of theatre- Terminator 3! 5 Angry Men going. The company has toured New York extensively throughout Australia and Times the Bells to New Zealand and Europe.
A series of images and composed Exhilarating…Under the Influence musical pieces that explores the proves the body can be an human capacity to hold a paradox: achingly expressive tool. friendship, cooperation and The Guardian, UK camaraderie alongside aggressive competition and the violent struggle for power and status. The apparatus is a combination of mechanical and electronic devices connected to five ropes, creating a very large musical instrument. Precisely choreographed movement and complex timing are inseparable from the music performed. It is a highly physical piece demanding endurance and discipline from the performers. 30 mins, 5 performers
5 Angry Men is a public space theatre company whose work If the actors had develops from commentary on contemporary culture and the walked on water manipulation of universal symbols. The company creates visually I couldn't have striking shows that draw upon high- energy physical performances, powerful soundscapes and strong been more design. Underscoring the work is a wry humour. The company has surprised. toured Australia, New Zealand and extensively throughout Europe. The Guardian, UK ...an ingeniously hyperactive mime–with With the Bells, such a high standard of street theatre…is set that even this company may find sound-effects comedy, a Muppets-by-way- it difficult to maintain. of-Tarantino skit. Theatre, Russia Entertainment Weekly, USA 20 21
The Flying Fruit Fly Circus
The Gift
Set to live percussion, The Gift stylishly blends theatre and circus traditions with its young performers turning a stuffy classroom into colourful chaos. Direction by Artistic …skadada succeed Director Kim Walker. brilliantly because they 2 hours, 18 performers A Backyard Barbie Two Turns use daring, imagination Fast paced riotous circus action CENSORED that takes an hilarious look at and muscle. classic Australian characters, icons Blending Australian suburbia and and traditions. The Times of India underground cabaret, CENSORED 30 mins, 15 performers is an irreverent satire on the genre of autobiography. It depicts the Founded in 1979, The Flying Fruit perverse extremes of a life Fly Circus has established itself as skadada Morgan Lewis dedicated exclusively to the art of one of the world's premier youth performing—and telling lies. performing arts companies. Among skadada Hot Banana Morgan 70 mins, 1 performer its many international and corporate performances, the company has A multimedia performance A man of many guises; MC, Morgan Lewis has performed at Two Turns founder Wendy McPhee presented a sell-out season of The exploring ideas about the body in breakdancer, beatboxer, capoierista, The Cleveland International collaborates with artists from Gift at the New Victory Theater in the age of information technology. poet, theatre director, community Performance Arts Festival, Theatre various disciplines on a diverse New York in 1999. The Flying Fruit arts worker. Performance art meets for the New City (New York), the range of projects. Formed in 1995, Fly Circus is regularly invited to boop! standup-comedy meets hip hop Energex Brisbane Festival, and has Two Turns has developed a perform at high profile festivals and meets theatre workshop. A enjoyed successful seasons at reputation as creative and risk- events worldwide. Highlights in A video cabaret about life in performance about tribes, about Performance Space in Sydney. taking. 2000 included the premiere of their Perth—the most isolated capital belonging, an ever-spiralling series new work, Fusion, with the city in the world. of alter egos. Fast, funny, in your …cuts together text, (CENSORED) is a courageous Shanghai Acrobatic Troupe, at the face, involving and very physical. A consciousness-raising rap, work and was certainly a 10 Days Sydney 2000 Olympic Arts Festival skadada combine movement, room, a tape deck, a light bulb, and storytelling and physical theatre on the Island festival highlight and performances at the opening dance, martial arts and aerial work, your host, the man himself, Hot into a brilliantly entertaining and with additional shows sold out in ceremony of the Sydney 2000 physical theatre, songs, original Banana Morgan. uplifting ‘workshop’ performance. hours. Olympic Games. In March 2001, interactives, video and graphic 105 mins, 1 performer City Hub Dance Australia the company premiered A Backyard imagery, computer animation and Barbie at the opening of the sampled and manipulated sound. National Museum of Australia, Based in Perth, Western Australia, Canberra. the company has toured major Australian cities as well as to Taipei, Feats like these draw wows, and to India as part of the screams, gasps, applause and Australia/India New Horizons cheers from the audience, and program. laughter too. New York Times …boop! is a dream world of Technicolor images in Technicolor sound…it enchants and intrigues…it is exhilarating…skadada's team is wondrously imaginative and entertaining. The Australian …brimming with youthful energy, high spirits and mischievous behaviour, The Flying Fruit Fly Circus delivers a cornucopia of family fun. New York Times 22 23 lbijerri Aboriginal & Torres Strait Islander Theatre Co-operative
Stolen
Developed by the company in professional theatre company for consultation with the Victorian Aboriginal and Torres Strait Islander Indigenous community, Jane people of Victoria. Since then the Harrison's play confronts the ugly company has initiated and history of so-called 'integration' developed performances in policies under which successive collaboration with their community Australian governments took exploring complex and controversial Aboriginal children from their issues from an Indigenous families so that they could be raised perspective for Indigenous and in white-run institutions. Through non-indigenous audiences. the stories of five Koori children struggling to survive in a society Stolen, a co-production with intent on destroying their culture Playbox Theatre, had a very and their identity, Stolen brings to successful tour to London in 2000 vivid life the complex and as part of Heads Up: Australian controversial issues surrounding the Arts 100, celebrating Australia's Stolen Generations. Centenary of Federation. In 2001 it IHOS Opera 1 hour 15 mins, 5 performers. returns to the UK for a tour of regional cities followed by a London Days and Nights with Christ In 1990 a group of Indigenous season at the Tricycle Theatre in artists and community members November. A large-scale work dealing with the came together to form a imagery associated with Urban Theatre Projects Margaret Trail doppio-para//elo schizophrenia; installations by American visual artist Ann Wulff are Stolen is extraordinary... Site works K-ting! Extended Play The Last Child an integral part of the performance. 1 hr 45 mins, 5 performers, 6 UTP animates working, populated An exploration of the extra-ordinary Studying classical Indian dance led A new music performance. A musicians and chorus a restless, time-transcending urban spaces with performance. Its powers of language. Trail takes Margaret Trail to an interest in mesmerising singer, eight musicians, interactive ‘intimate spectacle’ ordinary phrases and innocuous- choreography for the face and hands a DJ, a dancer, a love story. To Traverse Water mosaic, dazzlingly realised... events move audiences through a seeming parts of speech— and to composing rhythmic 50 mins, 9 performers. site and among the people living or stuttering, stammering, sighing, tiny combinations for gesture and voice. Exploring immigrant cultural as moving as any production working in it. Sites have included coughs, and other interruptions— She records and mixes the The Last Child is loud, lusty, displacement, To Traverse Water Sydney’s railway network and weaves them into incantations soundtracks for her works, and still in-your-face but at the same time depicts a Greek woman’s journey to (TrackWork), a suburban CBD and provocations of surprising does not know how to answer the gentle, generous and above all, her new homeland, Australia and in London. (
Maps The Dancing Cow Show The Theft of Sita
Maps is a collaboration between A spoof on classical ballet and A combination of disparate A landmark collaboration by artists ...the virtuoso puppeteers Melbourne's Aphids and animal training. A classic tale of elements—ancient and modern from both Australia and Indonesia, generate enthralling images Copenhagen's Kokon involving good and evil, the enemy faced is storytelling, eastern and western directed by Nigel Jamieson with a between slapstick and contemporary music, visual design, the butcher and his knife. music, and Australian and jazz-infused gamelan score by apocalypse, between burlesque film projection and text, with artists 30 mins, 6 performers Indonesian culture. Brought to Australian composer Paul poetry and bitter irony... and musicians from Denmark, vibrant life through the ancient Grabowsky, in association with Unbelievably agile and Australia and Japan. The ideas The Boomtown Family Indonesian art of shadow puppetry, Balinese composer I Wayan Gde exhilarating. implicit in Maps are realised in this retelling of the Indian Ramayana Yudane. The traditional and Braunschweiger Zeitung various forms—performative site- The Boomtown Family is a fairly myth underscores the contemporary puppets are specific applications to particular average family. They do the same contemporary political climate of orchestrated by Associate Director buildings, and sound document- stuff we all do but they are 4 both societies through breathtaking Peter Wilson and I Made Sidia, with ation, including a number of metres tall. visuals and music. More than 150 design by Julian Crouch (UK). The publications. The first performance 40 mins, 5 performers puppets magically enact the story, Theft of Sita is touring October- took place at North Melbourne while the score, featuring a November 2001 to the Next Wave Town Hall in November 2000. The This is new theatre of the streets. traditional Indonesian gamelan Down Under Festival, Brooklyn next performance is scheduled for Snuff Puppets is a giant puppet orchestra peppered with western Academy of Music, New York, the Copenhagen at Musikvidnskabligt company committed to creating instruments, provides complex London International Festival of Institut in Autumn 2001. performance works for non- accompaniment to the visual saga. Theatre and to regional UK. 120 mins, 6 performers, 6 extras traditional sites and audiences. 90 mins, 16 performers in a touring Their performance philosophy is party of 25. Also in repertoire is Overheard at gung ho, hit and run, rude, hilarious Inveresk, composed by David and challenging. Their materials: Young with sound design by giant puppets, spectacular visual Michael Hewes. Set in a disused images, black humour and incisive If art has its beginnings in a sense of awe of the blacksmith's workshop and based satire. Also in repertoire is Forest in on the myth of the fall of Icarus, the the Night, a 40 minute work on work is a miniature opera for evolution. world, in the enchantment of telling a story, in soprano, percussion, a boy performer, bicycles and brass band There is in all of their suspending disbelief and in the magic of human with electronics. prankstering a real study of what 50 mins, 3 performers, band and is possible and sadly missing in action, then (The Theft of Sita) is sheer enchantment. chorus too much of today’s theatre: invention and fun. It's a study in The Melbourne-based Aphids style, to great effect…so much The Age produces projects and events in marvellous theatrical raw material contemporary music performance, and intelligence at their disposal. cross-artform collaboration and Sydney Morning Herald community arts. Aphids' Ricefields has toured Australian cities and regional centres.
Maps, an inspiring special event by the Aphids group...crisply idiosyncratic...There is nothing quite like it around. Go, if you can get a ticket. The Age 27 26 Terrapin Theatre Igneous Gravity Feed Stelarc
The Dark at the Top of the Stairs Body In Question HOST Stelarc is an Australian-based performance artist whose work Theatre that invades the senses. A highly visual interface between A moving alliance of dance, video, A computer-designed set explores and extends the concept Puppetry that’s not for kids. The dance, puppetry and multimedia vibrant score and an eerily life- comprising monolithic sculptural of the body and its relationship with Dark at the Top of the Stairs projections behind a powerful, like puppet. cardboard structures. Huge technology through human/machine navigates the wilderness of the true-life story. Dancer and Sunday Herald Sun elements slide, drop, stand, turn, interface, incorporating the internet imagination in a haunting choreographer James Cunningham, lean and tumble all around the and the web, sound, music, video exploration of fear. The work whose arm was paralysed in a audience. and computer. He has performed exploits the seamless interaction of motorcycle accident, journeys 70 mins, 8 performers extensively in Japan, Europe and puppetry, music, projected image through the worlds of medicine, the USA in dance festivals, in new and physical theatre. disability and recovery finding new Tabernacle music and experimental theatre 60 mins. 4 performers angles on the body and new ways An ingenious system of constantly works. He is currently Principal to move. shifting panels, first seen as a huge Research Fellow in the Performance Terrapin Theatre's works for adults 60 mins, 1 performer red square, comprising fabric Arts Digital Research Unit at and children are highly visual, sheets on steel frames which are Nottingham Trent University, UK. employing contemporary and Co-directed by James activated to enclose, divide and traditional puppetry techniques in Cunningham and multimedia artist sweep the outdoor audience from Stelarc has performed with a Third combination with a range of other Suzon Fuks, Igneous has been one created place to another. Hand, a Virtual Arm, a Virtual Body artforms. Terrapin has toured both exploring new territory in 70 mins, 8 performers, 8 extras and a Stomach Sculpture. within Australia and internationally. multimedia performance, Recently, he completed photography and video since Site-specific commissions for new Exoskeleton, a pneumatically The interaction of performers, 1997. Drawing on participants work are also made in response to powered 6-legged walking marionettes and cinematic from different cultural a local site, environment, community machine actuated by arm sequences, often screened in backgrounds, physical abilities and or occasion. gestures. Current projects include powerful overlays of video and age, the company celebrates the the Extra Ear, a surgically stills, demonstrates the calibre of diverse artistic riches to be found Since 1992 Gravity Feed has constructed ear as an additional artists collaborating with in Australia. Touring has taken evolved a unique architectural facial feature that, coupled with a Terrapin. Igneous around Australia and to performance theatre, employing modem and a wearable computer, RealTime India and Belgium. large sets to create potent, will act as an internet antenna. He subversive, and densely has completed an Extended Arm— atmospheric events. Theirs is an a manipulator with eleven degrees- embodied language whose central of-freedom that extends his arm to motifs of task as physical imperative primate proportions. Stelarc was and spatial dynamics provide a appointed Honorary Professor of provocative performance Art and Robotics, Carnegie Mellon experience. University, Pittsburgh in 1997.
Why do I like Gravity Feed so much? First, they make theatre outside of theatres. Second, the audience is part of the perform- ance. Third, you have to work: physically and imaginatively. Sun Herald 28 29 CIRFUNKUS Born in a Taxi
The Web What goes up.....!
An aerial ballet performed on a Three fallen angels walk the streets, single rope combining strength and mischievous land-locked misfits hell precision with dynamic twists and bent on flight. A roving street spins. theatre show. 10 mins, 2 performers 45 minutes, 3 performers
The Cradle Seduction A high-energy routine exploring the Three fastidious and coercive ...it is (ELISION’s) work with heat and excitement of an security guards arrive with three unexpected physical attraction. chairs. A performance about waiting 10 mins, 2 performers for a performance. Can be mounted collaborative site-specific installation, indoors or outdoors. CIRFUNKUS is Tanya Lester and 30-40 mins, 3 performers particularly in terms of inspired Alan Fowler. Experienced circus artists, they combine music, theatre Born in a Taxi is a physical theatre international collaborations between and circus, and specialise in works ensemble exploring the fusion of for festivals and the corporate dance, theatre and improvisation sector. Recent performances for indoor/outdoor performance. visual artists...and composers that include the closing ceremony of the Tess de Quincey Paralympic Games, City of Sydney It is a funny, quirky, eccentric and has truly broken new ground. Olympic Live Sites, the Australian heart-wrenching cocktail of Nerve 9 Football League Grand Final and theatre of the absurd. the ceremony for the hand-over of Herald Sun Weaving between the work of three Eyeline Hong Kong to China. of Australia's most acclaimed women artists (visual/sonic poetry …a showpiece of how to blend ELISION Ensemble humour and serious intent to Amanda Stewart; audio visual sequencing Debra Petrovitch; text create a totally absorbing Moon Spirit Feasting Francesca da Rimini) and around performance… insightful, very (Yuè Ling Jié) human and extremely funny. writings by Julia Kristeva, dancer Tess de Quincey focuses on Inpress With its participatory South-East feminine space, an environment Asian street festival atmosphere— where body and textuality coexist. Chinese opera, puppets, riddles 60 mins, 1 performer Sue Broadway/Jeff Turpin and song contests, a karaoke session and a Daoist sex manual NO COLD FEET Eccentric Acts scene—this ritual opera presents the legend of the Moon Goddess in An upbeat, trans-cultural dance the context of the Chinese Hungry A homage to the performers of the piece interspersed with a Ghost Festival. The libretto is in golden days of vaudeville. Highly performance procession adapted to English, Mandarin and Cantonese. skilled and eccentric routines, such map and articulate any site. In full Leading Australian composer Liza as the Ancient Australian Tea glam-slam costume with wild, Lim has created the score with a Ceremony and the Court of Cups, wigged kimono action, the dancers libretto by novelist Beth Yahp and are interspersed with film footage of of De Quincey Etc chart their way direction by Michael Kantor. After its the artist's family, the Broadway through the site with three metre spectacular premiere performance Variety Players. A variety of quirky long poles. on a river barge at the Telstra acts with an Australian bent that 40 mins, 5 performers can be performed outside as roving Adelaide Festival 2000, Moon Spirit Feasting appears in the 2001 entertainment. Tess de Quincey has worked Melbourne Festival in October 75 mins, 2 performers extensively in Australia and Europe before touring to major theatres in exploring performance as an Europe and Japan in 2002. A former Artistic Director and environment. De Quincey Etc is a 75 minutes, 3 performers, member of Circus Oz, Sue young Sydney-based dance conductor, 9 musicians Broadway was Circus Director for performance company producing the Sydney 2000 Olympic Games site-specific and theme-based The ELISION Ensemble has opening ceremony and directed the works. Dawn ceremony for the opening of developed innovative projects in contemporary opera, site-specific the new National Museum of De Quincey works...to return the installation, chamber performance, Australia, Canberra. Jeff Turpin is a performing body to its being on improvisation and electronic music. juggler, musician, clown and stage… a more powerful ELISION has been extremely active ropewalker. performance presence is hard to internationally, mounting tours to Skilful acrobats…with an imagine… Italy, Germany, the United Kingdom, …inventiveness and a great RealTime undercurrent of violence, harsh sense of humour. Turpin’s the Netherlands, Norway, Austria, musician who cannot quite cope Belgium and South Korea. with his music stand is lovely, music and metallic costumes, and Broadway’s way with getting the tea into a teacup when it’s on the hint of danger adds drama the head is a classic example of loony performance logic…go and to their aerial routine. celebrate them. Canberra Times Adelaide Advertiser 30 31 The Leaping Loonies
Drawing on the great Australian traditions of popular physical performance and the silent movie era, the Leaping Loonies incorporate tumbling, balancing, group acrobatics. juggling, clowning, slapstick, unicycling and knockabout routines. A sense of fun and larrikin playfulness makes the rehearsed physical tricks look accidental and the difficult and dangerous feats seem easy. 40 minutes, 3 performers
For thirteen years the award- winning Loonies have performed thousands of shows in Australia and overseas in markets as diverse as schools and universities, agricultural shows, pre-game sporting events, major festivals in Canberra, Brisbane and Sydney and shopping centres in Hong Kong and Singapore as well as on Australian television. The Loonies have recently performed at the Iksan Festival for young people in Korea.
BIG hART Arena Theatre Company
Community & site works Eat Your Young
One of the most exciting events of An exhilarating and disturbing live the Telstra Adelaide Festival 2000 event featuring giant revolving was BIG hART's onsite residency in screens, stop motion film and a the city's central business district pumping techno soundscape. The with a large group of young story follows the lives of three homeless people. Living and rebellious children placed in a fully working on the site, they automated childcare institution transformed their lives into where good behaviour is rewarded performances, visual art works and with simulated reality experiences. films, which in turn were The show explores the synthesised into a sell-out show. psychological damage of neglect This is one model of the way that and the power of technology to The strength of the work, apart from its structure, BIG hART can work with make our imagination real. international arts festivals, through a 70 mins, 4 performers. is the beauty of the images. The portraits shimmer collaboration with a community or a particular group. Working at the forefront of live performance and new technologies, with life. BIG hART is a uniquely Australian, Arena seeks to engage young community arts organization which audiences by creating events that Sydney Morning Herald has worked for over a decade with speak a new and provocative people in rural and remote centres. language. The company has Utilising raw blends of film, image, appeared in Australian international William Yang text, portraiture, field recordings, arts festivals, toured to North music, photography, Indigenous America and is programmed for Blood Links and Chinese dance, BIG hART both the Taipei and Singapore Arts creates moving theatre and film Festivals in 2001. An intriguing blend of storytelling, Born in North Queensland in 1943, International Film Festival and Best experiences. social history, performance and William Yang is a third generation Australian Short Film at the Shows such as this really do documentary photography by Chinese-Australian. A gay artist with Melbourne International Film …BIG hART is one of the most seem to illuminate future celebrated Australian artist William a unique theatrical style, his Festival. Blood Links is touring to inspiring arts ventures in the directions for theatre, where Yang. Blood Links traces the monologues with slide projections Canada, New Zealand, Belgium country and I cannot recommend boundaries between film and scattering across the world of his (The North, Friends of Dorothy, (Festival Kunsten des Artes) and the it too highly…It is rare to find the physical acting are merged. family, some of whom migrated Sadness and now Blood Links) USA (Spoleto Festival) in 2001. combination of genuine The Age from China to Australia over 100 have taken him around the world. In commitment to social issues and years ago. A family story of birth, 1999, Sadness was adapted for the Full of empathy and affection. depth of process with excellence traditions, skeletons, death, love screen and directed by Tony Ayres, Globe & Mail, Calgary, Canada in performance. and cuisine, hauntingly familiar in screening at gay film festivals in Robyn Archer, Artistic Director, content, Blood Links has been New York, San Francisco and Los Telstra Adelaide Festival, 2000 acclaimed across the globe. Angeles, and was voted Most 55 minutes, 1 performer Popular Film at the Brisbane 32 Stewart is a powerful performer, mercurial, abrasive and energetic. IRAA Theatre Amanda Stewart Avant, UK Kim Carpenter's ≠ Theatre of Image The Secret Room and As Is
The Gypsy Boy The Secret Room arose from an Two multi-track vocal works for live artistic collaboration between performance. A performer, working Zazel is determined to pass on to director Renato Cuocolo and with stereo microphones, is caught his Australian grandson his Romany performer Roberta Bosetti. It is between multiple layers of sound. culture and circus skills. The Gypsy presented to seven people every Different dimensions of the voice are Boy is a celebration of survival night in the rooms of a private ignited and overlaid in mercurial using folktales, fortune-telling, house. Real life and theatre spaces tirades, fractured English, circus skills, song, dance, magic overlap. During the performance phonemes, calls, outbursts, tricks and music. dinner is served and the perform- stutters, mouth sounds and 90 minutes, 8 performers ance broadcast live through the 'concrete nouns', creating a strange internet. The Secret Room can be form of linguistic music. The Since 1988, Kim Carpenter's presented in 3 different languages: performer's body bends under the Entrancing—The Gypsy Theatre of Image has developed a English, Italian and French. Winner weight of its discourse with this Boy combines circus national and international reputation Spare Parts Puppet Theatre of Melbourne's Green Room Award fragile, transitory world of broken for producing distinctive mainstage 2000 for Most Innovative utterances, historical residues, skills, puppetry, digital visual theatre for children and their The Bunyip of Berkley’s Creek Specialising in illusion created Performance/New Art Form. decayed myths and sonic debris. families. Another work in repertoire, through puppetry and visual theatre, 90 mins, 1 performer Up to 60 mins, 1 performer video and dance to Jake and Pete, toured to the Adapted from the acclaimed book Spare Parts is one of Australia's Manitoba Theatre for Young People for children by Jenny Wagner, this is leading producers of theatre for Formed in 1978, IRAA Theatre has Since the late 1970s, Amanda propel the drama in Winnipeg, Canada in 2001. an enchanting multi-artform work young people. Based in Fremantle, received critical and public acclaim Stewart has created a variety of 1 hour, 4 performers about a Bunyip (a mythical Austral- Western Australia, the company has at international festivals in Vienna poetic texts, performances, —with customary ian animal) seeking his identity. The toured extensively throughout and Turin as well as at the installations, radio, film and inventiveness and flair. (Jake & Pete) is top drawer production features a musical set, a Australia and internationally during Adelaide and Melbourne Festivals multimedia works in Australia, comedy. soprano/cellist and 2 puppeteers. its 20 years of operation. and Sydney’s Carnivalé. Japan, the USA and Europe. She is Sydney Morning Herald Canada Free Press 45 mins a co-founder of the Australian Spare Parts puts the thrill back The Secret Room is no ordinary ensemble Machine for Making Also in repertoire is Eat the Moon. into theatre because it knows theatre experience. It invites us Sense and the Dutch trio Allos. Based on themes from Hansel and about theatrical magic and the silently to become complicit in a Gretel, two Australian children are effect of surprise. world of intense, personal Stewart's interjections and caught in the fantasy of the The Australian disclosure....The risks are all explosively high notes had a children’s book they are reading. worth taking and the results, Cathy Berberian intensity. philosophical and dramaturgical, Village Voice, USA are extraordinary. Like Allende’s stories, LUNA pleasurably pulsates with life and passion. The Australian The Australian
deckchair theatre Inc
LUNA
This highly sensual multimedia performance transports the audience to the Southern Americas. Featuring a video backdrop and live music, the work is based on the magic realism of Isabel Allende’s Eva Luna stories. 90 mins, 3 performers
deckchair theatre creates productions in unusual sites, works with communities and uses live music as an integral part of its performances. The company is a leader in the commissioning of innovative works which reflect Australian cultural diversity. These have been performed by companies in every state of Australia.
LUNA is charming and seductive, imaginative and beguiling, skilfully rendered in music and performance. The West Australian 34 35 The opera Project ART DRAGON Frank: Austral Asian Performance Ensemble El Inocente Exile Salome The Tale of Macbeth: A triumphant march across the An intercultural exploration of Crown of Blood glorious and decadent freeway that female subjectivity in a hostile and In director-choreographer Jacqui is Baroque opera. With all the shifting landscape. Images of Carroll's production, intense drama The text of Shakespeare's play has perversity and determination of a female outcasts, vagrants and within a lyrical framework takes the been crystallised, using only seven South American road movie, El nomads inform this work which play into the realm of the fantastic. actors and focussing on its greatest Inocente is driven by a vast musical places the Japanese Butoh body in Salome's erotic obsession with speeches and psychological and score and lighting spectacle. a sculptural, digitised environment John the Baptist and Herod's with emotional turning points. A bilingual Eschewing the illusion of ‘reality’ or created by a European Australian. Salome create a battleground with Croation/English version will be ‘totality’, it draws attention to the 70mins, 1 performer a violent outcome. presented at the 6th International discrete components that make up 70 mins, 7 performers Youth Festival, Pula, Croatia, 2001. the performative act. ART DRAGON is a cross-artform 70 mins, 7 performers 75 mins, 4 performers platform for independent artists, ...what voices...extracting every produced by Barry Plews. Exile is nuance from the boom to the ...hypnotic in its strangeness, Founded in 1997, The opera devised by designer/director Mary whisper. Sleek symmetry, affecting in its intensity...the Project is committed to the Moore and Butoh artist/choreo- sculptural bodies...offer another production created its own development of a powerful How triumphant! Informed, grapher Tomiko Takai. It is the dimension to an exceedingly well- theatrical language. ensemble of experienced artists. It provocative, funny, oozing with second work in Moore's trilogy that crafted and compact production Brisbane News examines a breadth of cultural exquisite music and unorthodox began with Masterkey for the 1998 that should be seen by all. Leaves heritage in theatre, music, literature sexuality. The purity of this work Telstra Adelaide Festival and the Berkoff for dead. and dance, unashamedly focusing (The Berlioz), its intelligence and Perth International Arts Festival. Adelaide Advertiser on the body of the performer, the physical daring set it apart. Tomiko Takai, a Butoh artist for the voice and all its fleshy represent- Sydney Morning Herald past 40 years, was a member of ations. Touring repertoire also the seminal Ankoku Butoh-Ha (The includes Choux Choux Baguette Dance of Darkness Group) led by Remembers, The Berlioz—our the founders of Butoh, Kazuo Ohno vampires ourselves (Hobart and and Tatsumi Hijikata. Exile has version 1.0 Theatre Kantanka Brisbane 2001) and This Most played in Australia and at the Wicked Body (Telstra Adelaide Shanghai Festival. The second Last Supper The Eye Festival 1998). A performance in 3 courses. While A loose adaptation of The treachery lurks in the wings, an Odyssey's tale of the Cyclops, this exclusive corporate dinner party open-air production combines takes place beneath the gaze of physical comedy, inventive use of ...an absorbing visual da Vinci’s Last Supper. scenic props and machinery, stylised costumes, pyrotechnics, entertainment, sometimes Through live performance, version special effects and video. The show 1.0 tests the limits and capabilities is focused around a challenging...to the of the operating systems of collapsing/expanding set mounted Australian society, actively probing on the back of an 8-tonne truck. its flaws and weak points, 50 mins, 8 performers perception for its fast- ascertaining its strengths through rigorous crash testing. version 1.0 Also in repertoire is The Sheep, a moving geometric designs. creates performance through a complementary roving performance collaborative process, investigating for festivals and arts events. Sydney Morning Herald models of participatory democracy through action. Founded in 1995, Theatre 90 minutes, 6 performers Kantanka's major works are based around classic texts. They …an antidote to the leaden trend investigate new sites for creating of performance art seriousness; theatre and are driven by a style of an embrace of that oft-forgotten visual poetics. Their productions are point about entertaining the often large scale and engage with punter, emphasising the playful theatre forms and texts from diverse over the self-congratulatory. origins. Sydney Morning Herald The Eye is a sensorial feast…lavish and stunning. DB magazine
The whole production is quite magical… Sunday Telegraph 36 37 Machine for Making Sense Stalker’s fresh ideas and their boldness to Stalker The Twentieth Century Never Blood Vessel Happened go where no actor dared go before, provide Premiered at the Telstra Adelaide A text/music piece. At the turn of Festival 1998, Blood Vessel is an the 21st century, a meditation on Blood Vessel with universal appeal. outdoor performance exploring a the indigestibility of the 20th. 16th century voyage of discovery The Times, UK into the southern hemisphere. Machine for Making Sense is a Archetypal figures from science, text/music collective. Amanda religion and navigation haggle to Stewart's poems address make their mark on a ‘new world’. contemporary linguistics, science Set on a towering structure, part and the politics of meaning. Stevie ship, part flying machine, Blood Wishart explores analog and digital Vessel combines aerial and ground- bass timbres and plays on an early based choreography with haunting music instrument—the black and white film projected onto hurdygurdy. Jim Denley straps the sails of the ship. an obsolete contact microphone 1 hr, 6 performers onto his larynx so we hear inside his breath gestures: a Stalker Theatre Company creates a new perspective on wind unique blend of acrobatics and instruments. Rik Rue architecture, reflecting the sheer juxtaposes found sounds with scale of the landscape and the CD and MD players. The complex elements that make up the group has toured Australia, Australian condition. Since 1989, Europe and recently to New from its base in Sydney, Stalker has York. created eight major works, from 1-4 hours, 4 performers street theatre productions through to large scale Where does music come outdoor and site specific works. from? What does it mean? In Stalker has been presented at a time of overrated major arts festivals throughout technological parading here Australia, New Zealand, Europe, comes a group of Australians The Americas and Asia. set up in a Machine for Making Sense who bring us some (Blood Vessel) has all the startling answers and plunge us obligatory elements – loud music, into the heart of the creative pyromania, flying machines...and collective act. Rarely has expansive acrobatic gestures – improvised music been able to that you associate with outdoor offer such a high degree of performance. But it also sets up renewal. a philosophical voyage of Jazz France discovery into the tensions between the old world and the new, the knowingness of science and the unknowability of the mind. The Guardian, UK
The Cardoso Flea Circus
The world’s only troupe of live The Cardoso Flea Circus was a sell- performing fleas. The ‘smallest out success at the Sydney Opera show on earth’ features a troupe of House, the Centre Georges ballerinas wearing tutus, duelling Pompidou, the Atlanta Arts Festival, sword fighters, trapeze artists, a the San Francisco Exploratorium flea race and many other and the Edinburgh Fringe Festival. extraordinary feats. 60 minutes, 3 performers Truly a brilliant piece. The Wall Street Journal, USA ‘Queen of the Fleas’ Maria Fernanda Cardoso, multimedia The Cardoso Flea Circus is artist Ross Rudesch Harley and flea glamorous and outrageous—you wrangler Wyman Leung make up simply must see it to believe it! this small company with an ever The Oakland Tribune, USA growing entourage of miniature stars. Live video projection of the Gloriously bonkers. fleas ensures an audience of 400 The Independent, UK can witness the bizarre intricacies of this unique performance. 38 39
Australian contemporary press proudly quote foreign reviews In the early 1970s Australia was by sculpture, and musicians and dynamic synthesis of installation Nerve Shell, Frumpus and version traditional communities in the players have been Jean-Pierre performance: an introduction of our overseas arts successes that galvanised by its first ever sustained sound artists integrated into and performance. Kai Tai Chan's 1.0. along with established Northern Territory (where the works Mignon, whose stylised classics in cite the 'youthful vigour' and wave of playwrighting and at the onstage performance. The works One Extra Dance Company's performers Tess De Quincey, are developed) and Western the 1980s intensified the Melbourne Keith Gallasch 'brashness' of Australian same time the emergence of often comprised a series of images, expressive dance theatre and Deborah Leiser, Meme Thorne and Australia. theatre scene's European ethos, performers. distinctive theatre companies that with connections emerging for the Entr'Acte provided seminal Regina Heilmann creating new Robert Draffin's Theatre Works with Australian performance resonates provided homes for these writers. audience through association and experiences for a number of key works. Many of these artists 'Performance' might not have the its heightened theatricality and with the drumming of the circus, Australia's vigorous physicality is Contemporary circus and physical resonance. players in the performance scene, produced work at The Performance significance elsewhere in Australia unusual subject matter and Peter the stamping of Arnhem Land rooted in its convict, working class theatre (whose history Ollie Black including members of The Sydney Space, which, under the current that it does in Sydney, however, King's Going Through Stages, a dancers and the stomping of and lower middle-class origins— describes on pages 41-43), and There were other inspirations for Front which became the most Artistic Director, Fiona Winning, is regardless of terminology there has short-lived company that impressed Suzuki Tadashi trained performers. urban battlers and rural pioneers, performance art had begun to performance going back to the late prominent and playful of the intensifying its support of the been a parallel proliferation of like in several productions with its In a country of open spaces and stoic, reticent and wary of high establish themselves almost 1960s and early 1970s: the creative performance companies, performance scene. work across the country. Melbourne synthesis of music, movement and daunting horizons, performers culture and the intellect. simultaneously, creating works verve of the Australian Performing provocatively and progressively is Australia's second largest city architectural preoccupations in explore impossible heights, Compounding this is the image of ranging from populist to esoteric, Group, director Rex Cramphorn's undoing all the rules of audience Also significant from the 1980s into and boasts a proud theatre tradition various sites. Richard Murphet who inducing vertigo in their audiences the Australian bushman and the often intensely physical, often wary Performance Syndicate (from 1969) engagement from the 1980s into the 1990s were the deadpan of national significance. There's a worked with APG's Nightshift in the with throwaway smiles that suggest fraternalism of mateship promoted of language. with its radical conception of the 1990s. Open City (also ex- magic of Etcetera and the sleek more palpably European sensibility 1970s, wrote the seminal Slow all this is easy. In urban theatres, since the first major surge of Shakespeare's The Tempest, and Adelaide) found a place for the ironic-iconic-Australian Chrome at work among that city's Love in the early 1980s, with its studios and public spaces, national feeling in the 1890s. Until Also in the 1970s Stelarc the edgy APG off-shoot, Nightshift. musical complexities of everyday playing to big audiences in street innovators drawing on opera, radical cinematic cut up style and performers cross-breed artforms, recent times the iconic Australian commenced his experiments, Inspiration came also from the visits conversation in cross artform festivals around the world. cabaret, architectural aesthetics highly physical staging. It was given charging the air with bright sparks body has been male, eschewing swallowing transmitters, filming the to Australia in the 1980s of Pina performance. Meanwhile, in their Photographer William Yang's and forms of non-naturalistic a new life in 1999-2000 in Belgium of experiment. Australian the arts and the intellect associated inside of his body and developing Bausch's Tanztheater Wuppertal, own studio, the ground-breaking performative slide shows, exploring performance. Theatre and opera in a production that toured to the performance vibrates with the (unlike in Europe) with the feminine. his Third Hand Project in parallel the Wooster Group, Dumb Type, Sidetrack community theatre his life in Chinese-Australian, gay director Barrie Kosky worked Telstra Adelaide Festival 2000. energy of a distinctive Australian This is also a body which has been with his internationally famous body Tadeusz Kantor's Cricot 2, Suzuki (formed in 1979 in suburban and arts sub-cultures engaged extensively in Melbourne before Murphet teaches at the Victorian body—not an inherited monolithic admired as eternally young suspensions in public spaces, with Tadashi and others. Throughout the Marrickville in Sydney) transformed local and international audiences. moving to Sydney in the late 1990s. College of the Arts, long a source of Anglo-Celtic, masculine body, but (Federation of the states was not hooks inserted into his skin (1976- 1980s artists travelled through Asia into the Sidetrack Performance His short-lived but influential Gilgul new, inventive talent. Margaret an increasingly complex, achieved until 1901), an image 1988). From the 1970s and into the to study traditional and Group producing powerful theatre Under the directorship of Sarah Theatre Company produced a Cameron, a Jenny Kemp associate, multicultural, even bionic body. amplified by an enduring sense of 1990s, a significant group of contemporary performance and site works. At The Performance Miller at The Performance Space in trilogy of acclaimed theatre works continues to write and perform with the sacrifice of the young Australian performance artists emerged, practices. Richard Moore and Nigel Space and other locations, the the early 1990s, programming (The Dybbuk, Es Brent, Levad, a unique creative voice. In Australian audiences have long male body. The indignities of the including Mike Parr, Mike Mullins, Kellaway brought back the performance ensemble Gravity opened out to embrace a wide 1991-93) that surprised and excited performance art, Jill Orr, whose embraced Circus Oz, The Flying Boer War, the losses at Gallipoli in Arthur Wicks, Ken Unsworth, Noel influential training regime of Suzuki Feed expanded on the spaces range of performance, including theatre audiences, but was more work is internationally documented, Fruit Fly Circus and a host of World War I (celebrated April 25th Sheridan, Joan Brassil, Jill Orr, Tadashi from Japan. Suzuki would within which performers and physical theatre. Legs on the Wall familiar to the performance has been a notable figure since physical theatre companies that annually as ANZAC [Australia & Derek Kreckler, Linda Sproul, Jill tour his work here and later direct audiences coexist. staged two of their first in-theatre community with its eschewal of 1979 while Lyndal Jones, the artist work outdoors, in theatres, in circus New Zealand Armed Corps] Day), Scott, Barbara Campbell, Anna The Chronicle of Macbeth for works there, Off the Wall and Hurt. narrative, architectural engagement representing Australia at the 2001 tents across the country or, like the Great Depression and the Sabiel and Yuji Sone. This work Melbourne's Playbox Theatre After The Sydney Front dissolved in Synthesising physical theatre and with space, sung text and Venice Biennale with a video Legs on the Wall, abseil tall Vietnam War sustained this vision. was characterised by performance (1992), which the company the mid 1990s, members took their contemporary performance in considerable physical demands on installation, created her intensely buildings. Wherever the action, At its worst, this body has eclipsed in real time, acts of endurance, the followed with a version of King Lear performance principles to other Appearing in Pieces and Whet the performers. Douglas Horton's performative Prediction Pieces physical adeptness and risk-taking all others, the bodies of women, interplay of the artist and objects (1993). Some performers in these realms: Nigel Kellaway established Flesh, Party Line also reconfigured Chamber Made Opera also created 1981-91 and the performance- are admired for their own sake. Indigenous Australians and they had created, and an overall works, including John Nobbs of The opera Project; Chris Ryan the space. After Miller, Angharad consistently innovative music installation Spitfire 1, 2, 3 in 1995. Australian performance art, immigrants; at its best it has anti-illusionary aesthetic. Brisbane's Frank: Austral Asian became Artistic Director of PACT Wynne-Jones, who had earlier theatre. More recently Aphids' contemporary performance, dance generated pride and pleasure in an Performance Ensemble and David Youth Theatre and John Baylis created two site-work successes synthesis of visual arts installation In the course of the 1990s a range and music theatre share a uncomplicated sense of national By the early 1980s performance art Pledger of Melbourne's not yet it's transformed community theatre (Hydrofictions on Sydney Harbour and live music has also expanded of individuals and groups emerged in preoccupation with the body that identity. principles began to attract difficult have maintained strong company Death Defying Theatre and In Sea and Air, a sonic taxi performance possibilities. Melbourne that have enlarged the can often be urgently visceral. practitioners from theatre, dance connections with Japanese theatre (DDT) into Urban Theatre Projects. ride) developed a site-specific realm of performance possibilities: However, the waves of immigration and opera, as well as visual artists culture. Other artists went to Japan (Since 1981, as Australia's first performance program in the mid A Kosky associate, director Michael Linda Sproul, Margaret Trail, not yet The appeal of this bold physicality is and social change following World and (as in performance art) artists to study Butoh, some, like Tess De professional street theatre, DDT had 1990s with performer Victoria Kantor, has made his mark in opera it's difficult, The Men Who Knew Too integral to a cultural tradition that War II have created a more without formal training but with rich Quincey and Alan Schacher, to provided a model for accessible, Spence and others. Meanwhile, (Moon Spirit Feasting for Brisbane's Much, desoxy theatre, Yumi has defined itself since the 19th culturally complex Australian body. imaginations and bodies to exploit. work with Min Tanaka and his socially responsible theatre before Stalker Theatre Company fused ELISION Ensemble) and theatre in Umiumare, Tony Yap, Strange Fruit, century in terms of a hostile Bodies from other nations and What they created is often loosely environmentally-based Body becoming a distinctive community physical theatre skills and the visual Melbourne and Sydney with an Neil Thomas' Urban Dream Capsule, landscape and of sporting prowess. races, Indigenous and women's referred to as performance, or Weather training methodology. theatre company in 1991.) A new sensibility of performance in their equally distinctive, expressionist Kage physical theatre and dancers Beating the British at cricket was a bodies, bodies with disabilities, and contemporary performance or live generation of performers emerged outdoor stilt-walking spectacles, style. Melbourne is also home to like Helen Herbertson, Louise Taube meaningful way for the colonial gay and lesbian bodies demand to art. While locating itself in theatres The performance scene found its in the 1990s, including Nikki drawing on artists from both Jenny Kemp, a writer-director who and Cazerine Barry creating child to challenge the parent be recognised as integral to and studios, performance entailed home in Sydney in the early 1980s Heywood, Clare Grant, the anarchic communities. As part of The explores the feminine psyche in multimedia works on the thin line Empire. Australians, their politicians Australian culture. For more and unusual collaborations, endurance, when performer Mike Mullins Post-Arrivalists, Deborah Pollard, Marrugeku Company they continue works that, like Robert Wilson's, between dance and performance. and the mass media continue to more Australians the arts and the exploration of states of being, risk- established The Performance Victoria Spence, Katia Molino, Kate to collaborate on large scale synthesise design, movement and While essentially dance-based, revel in international sporting intellect have now become part of taking, new relationships with Space. Here, All Out Ensemble Champion, Morgan Lewis, Caitlin multimedia, cross cultural works voice into a set of strongly Company in Space has pioneered victories. Almost as eagerly, the the everyday. audiences, illusionary sets replaced (originally from Adelaide) created a Newton-Broad and Gail Priest's with Indigenous artists from associative images. Other key new media performance, touring 40 41
internationally and creating dance the 1990s was home to Splinters, a theatre—Back to Back Theatre References Circus and physical theatre in these images identifiably Australian? Popular Theatre Troupe, an outdoor stereotypes. Its accessible duets across cyberspace. large company of performers, visual includes digital media in its Australia: an introduction Perhaps it has something to do with political street theatre company from approach to the presentation of artists and puppeteers who productions, Igneous is rooted in Body and Self: performance art in our weather and space—the Brisbane, came to the 1976 Perth confronting political material made it Large cities yield most produced significant often site- dance and multimedia, Australian Australia 1969-92, Ann Marsh, Ollie Black freedom to be out in the open, to Festival. Their infectious frivolity was popular at political gatherings— performance, but the volume of based works. Some members of Theatre of the Deaf is a OUP, Australia, 1993 (also available breathe in the energy of the at once entertaining and politically always an important role for circus, innovation increases annually the dissolved company continue to longstanding innovator, Jane Muras on CD-ROM) In the great burst of theatrical outdoors, to make our presence felt, daring for the time. I joined some of outdoor theatre and other physical across the country. In Adelaide, produce provocative theatre work. is a strong, emerging solo creativity that typified Australia in the to be big, bold and fantastic. And the performers (Micko O’Byrne, performance. Joanna Dudley (currently working in Company Skylark, directed by performer, and the High Beam Body Show/s: Australian Viewings 1970s, small groups of performers not to take ourselves too seriously. Duncan Campbell and Nick Hughes) Berlin), the Yaschin Ensemble innovative puppeteer Peter Wilson, Festival in Adelaide in 1998 and of Live Performance, Peta Tait, ed. across the country developed new who remained in Perth to establish With the demise of the Wimmin’s (initiated by Netta Yaschin, a created works that toured to Asia, 2000 has celebrated the work of Amsterdam, Rodolpi, 2001 versions of the traditional circus— The form has had a long evolution. Desperate Measures (1977–82). Circus in 1981, a core group went performer with Israel's Itim North America and Europe. performers collectively growing in focussing on physical skills and not Circus Firat is cited by Mark St This company presented large to Sydney and set up Lollie’s Ensemble, who toured to the 1998 confidence. Companion to Theatre in Australia, working with animals. They travelled Leon in his history of Australian outdoor events to make statements Warehouse which became the hub Telstra Adelaide Festival), doppio- In the regional city of Cairns in Philip Parsons, General Editor, widely, taught each other skills, circus, Spangles and Sawdust, as about current issues in an for many women’s performance para//elo with its two decades of northern Queensland, Bonemap Though Indigenous Australians Currency Press, Sydney, 1995 formed enduring networks, and, the earliest recorded in Australia in entertaining and accessible way, groups in the early 1980s such as intercultural and new media fuses dance, performance and new constitute only two percent of our within a decade had created what 1847. Ashton’s Circus which using stilts, unicycles, juggling, Harpies Bizarre, Freeda Stairs, the performance work, and the media in remarkable sites on the population, their presence in the Performing the Unnameable, an was to become the internationally started in 1851 is still travelling pyramids, song and dance. Some of Piano Accordion Band and Furious erstwhile street performers line between city and bush, while in performing arts is striking. They anthology of Australian performance acclaimed Circus Oz and a host of today. Since those early days when the performers in this group (Celia Chicken. These and a host of other Stretchmark 1 have exemplified the Darwin, in the Northern Territory, have brought to theatre an informal texts, Richard James Allen, Karen smaller circuses, physical theatre traditional circuses wandered from White, Sarah MacNamara, Christine workshop groups performed at experimental impulse along with a Tracks Inc. create intercultural style rooted in oral story-telling, Pearlman eds., Currency and outdoor performance groups. outback town to town, bringing Evans, Rose Wise) were influenced International Women’s Day host of younger artists who are works with dancers, actors, and music and dance. Works like Press/RealTime, Sydney, 2000 Not only did they revolutionise the weird, wacky and magical images by Michael Price, a visiting Circus marches, dances and university seen at the Adelaide Festival Indigenous artists and communities. Kooemba Jdarra's acclaimed 7 very idea of circus, but they also to country Australia, the desire to Oz member who taught us some events around the city for a number Centre's Open Space season. PICA In Tasmania, Salamanca Theatre Stages of Grieving entail the Telling Time, celebrating 10 years of transformed theatre, creating a ‘run away with the circus’ has eye-catching balances that of years. Re-connecting with one of (Perth Institute of Contemporary has produced adventurous hybridity that Western performance women's writing for performance, physical vocabulary for appealed to those of us whose enhanced the impact of our outdoor the most widely-travelled of Arts, Artistic Director Sarah Miller) multimedia performance works in has been inclined to in recent Virginia Baxter, Caitlin Newton- psychologically intense stage works spirit feels trapped in the confines performances. Finally, in 1979, lured Australian groups, Pipi Storm introduces new performance in its recent years under the direction of decades. Ningali Lawford, Deborah Broad eds., Playworks, 1999 and an engaging medium for theatre of suburbia. There's something in by the more exciting circus Children’s Circus (whom we first annual Putting on an Act season, Deborah Pollard. IHOS Opera and Cheetham, Leah Purcell and for communities and young people. the Australian psyche that happily opportunities in the east, some of us encountered in Perth in 1977), gave while the nexus between new its director-composer Constantine Deborah Mailman have played their 25 Years of Performance Art, This was achieved by performers rushes headlong into danger, that left for Melbourne, home of Circus some of us our first professionally media, performance and music is Koukias have created epic pieces solo shows to eager international touring exhibition catalogue, curator who were brash, often politically thrills at the thought of performing Oz, an amalgamation of the funded employment. explored by skadada, and, between incorporating visual art installations audiences. The Marrugeku Nick Waterlow, Ivan Dougherty outspoken and attractive to a new extraordinary acrobatics on the Soapbox Circus (with the vaude- dance and performance, by the for international touring and site- Company's Crying Baby and the Gallery, University of New South generation of audiences. Ollie Black sides of tall buildings (as in Legs on villian Captain Matchbox band) and In the early 1980s the road often ID339 group. PICA's production of works with local communities. Ilbijerri Aboriginal & Torres Strait Wales, 1995 was one of those performers. Here the Wall’s Homeland), that makes the raw physicality of New Circus, travelled was between Melbourne Erin Hefferon and Josephine Islander Theatre Co-operative's she gives a personal account of the leaping from the top of a ship’s which had its gestation at Flinders and Sydney with stopovers in Wilson's The Geography of Puppetry has its place too in Stolen are touring internationally in evolution of Australian circus and mast (as in Stalker’s Blood Vessel) a University in South Australia. Albury-Wodonga to visit the Murray Haunted Places was one of the innovative Australian performance. works that grapple with the physical theatre, the network of desirable thing to do. River Performing Group (MRPG) to Australian works in LIFT97 (London Companies like Handspan Visual challenges of reconciliation between influences and alliances that have Circus Oz was then based at the train with Pixie and Jim Robertson International Festival of Theatre). Theatre, Spare Parts Puppet black and white Australians. given this country, in just thirty years, The current generation of Australian Performing Group's and Micky Ashton, and witness the Theatre and Terrapin Theatre have a popular and enduring heritage with outstanding physical performers (APG) Pram Factory in Carlton and emerging children's company, The In Brisbane, Zen Zen Zo Physical created significant productions over Circus, physical theatre and an international reputation. While joins an extended family that goes being there gave us the opportunity Flying Fruit Fly Circus. The Fruit Theatre and Frank:Austral Asian two decades. Peter Wilson has contemporary performance coexist many of the artists, companies and back centuries. Annual gatherings to train with the Oz women—Robin Fly’s inaugural international training Performance Ensemble have built worked with Handspan, director and overlap, sharing performers other players in this revolution are like the National Circus Festival Laurie, Sue Broadway, Jane Mullett, project, Nanjing 1, initiated by distinctive bodies of work from a Nigel Triffit, the Philippe Genty and artistic and political concerns. mentioned in this essay, it has been (now in its tenth year), training Celeste Howden, Laurel Frank and Bomber Perrier with the help of foundation of Australian dance and Company and Company Skylark. In their interplay with music theatre, impossible in a few pages to programs run by The Flying Fruit Fly Hellen Sky. We formed a once-off Carrillo Gantner, brought the Japanese influences. Frank Most recently he was Associate dance, architecture and digital encompass the many others who Circus in Albury-Wodonga, and group called the Mighty Bonza Nanjing Acrobatic Troupe from associate Lisa O'Neill also works Director on The Theft of Sita, media they create new hybrids. In have contributed just as significantly. industry conferences bring Whacko Women’s Circus which China in 1983 and was the catalyst with the newly formed transmute collaborating with Indonesian terms of touring they represent Eds. performers together to catch up included performers from Circus for dozens of circus artists to collective in live and digitally relayed master-puppeteer, I Made Sidia. A some of Australia's most successful with mates, exchange new tricks Oz, an acrobatic group and improve their skills. The three- on-site performance. The opening younger generation working in Snuff exports, travelling often in small Australian physical performance is and swap stories of achievements members of the APG. Nothing like month project saw aspiring of the Brisbane Powerhouse Centre Puppets, Slack Taxi and Splinters ensembles, displaying in an array of often awe-inspiring—not only clever, and disasters. It's as important as this had been seen before, and in acrobats from all over Australia for the Live Arts (Artistic Director have all created a different kind of innovative works the complexities of but outrageous in its daring. The the applause. the prevailing feminist fervour the come out of the woodwork to train Zane Trow) in 2000 has created a puppetry involving bizarre puppets, the Australian body. recent Sydney 2000 Olympic group became an overnight (hard!) with the generous Chinese significant home for performance often of giant scale in outdoor Games opening ceremony was an The genesis of contemporary success. Out of it in 1980 came the troupe. Living together in caravans both locally and nationally. performances. international showcase for the physical performance as distinct Wimmin’s Circus, the first of many and tents in the Wodonga Rock'n'Roll Circus and Vulcana diversity, skill and quirkiness of from new circus can, in my such circuses, using humour and showgrounds rekindled the Women's Circus stage new works Performers with disabilities are also some of our best physical theatre experience, be traced to Perth, live music to present images of community’s desire to perform at the centre in 2001. Canberra in creating innovative Australian companies. What makes some of Western Australia, when The women that challenged death-defying feats. 42 43 will provide professional training for Adelaide, and the Koori Youth NICA graduates from the twenty-plus Circus, initiated by Jane Mullett and National Institute for Circus Arts circuses and schools dotted around currently training at the Star Gym in Australia. A new era in contemporary Fitzroy, Melbourne. Other training In 2001, in a major development for Students also learn circus history, circus has begun. Lu Guang Rong, projects are being undertaken in circus and physical theatre in basic rigging and business originally involved in the Nanjing I Aboriginal communities, with Australia, the National Institute of practices. Established practitioners training project with The Flying Fruit established performers and Circus Arts opened at Swinburne can brush up on their skills in a Fly Circus, is NICA's Director of companies taking their expertise to University of Technology. Located at series of master classes and Circus Training. some of the more remote locations. the Sidney Myer Circus Studio, workshops on offer. NICA is also This exposure and community NICA will be a world centre for preparing specialised programs in Looking to the future, there are building will have far-reaching professional training in areas such as youth development, several exciting trends. One is an effects. The explosive mix of risk- contemporary circus and physical courses to improve the quality of engagement with the potential of taking and physical bravura shown theatre with a curriculum of fully circus training, and workshops digital media seen in the work of by young Indigenous kids being accredited academic programs. related to training and performance Party Line, skadada (in their channelled into something as safety. Electronic Big Top), Legs on the Wall spectacularly exciting as circus will Mr Lu Guang Rong, a former and The Marrugeku Company. be worth the wait. member of the Nanjing Acrobatic Contact details Another trend suggests that the next Troupe who worked for 15 years National Institute of Circus Arts wave of physical theatre/circus may References with The Flying Fruit Fly Circus, is Swinburne University come from Indigenous physical the Head of Circus Training, and the 144 High Street theatre performers incorporating Converging Realities, Feminism in institute is staffed by a team of Prahran VIC 3181 acrobatics, dance and music. The Australian Theatre, Peta Tait, Australian and international artists Phone 61 3 9214 6975 From this intensive training, circus site, often with minimal financial pool for many contemporary Wanting to explore women's potential of this dynamic form can Currency Press, Sydney, 1994 The training encompasses a variety Fax 61 3 9214 6574 arts and a common acrobatic support. An unforeseen bonus from Australian circuses, as well as strength and resilience and inspired be seen in The Marrugeku of movement disciplines from [email protected] language became more widely the Nanjing project was the addition founding new companies such as by the Wimmin’s Circus, Donna Company, Stalker’s collaboration New Circus, Reg Bolton, Calouste Feldenkrais and contact www.nica.swin.edu.au shared and many inspired groups of Master Trainer Lu Guang Rong to acrobat (Simon Yates, Jo Jackson established the Melbourne with the Kunbarlanjnja/Oenpelli Gulbenkian Foundation, London, 1987 improvisation to classical ballet. formed. At this time Bomber Perrier The Fruit Fly training team, which Lancaster), Cirfunkus (Tanya Lester, based Women’s Circus, a community, which brought Mimi and Performance strategies at this stage formed The Leapers under the provided an enormous fillip for local Alan Fowler) and Luna Circus community theatre company, in now Crying Baby to the world stage Women’s Circus, Leaping Off the are focussed on acting, mime, direction of Robin Laurie to provide performers. (Zanette Clements, Fat Matt Yates). 1991. With its large scale annual and provides a new framework for Edge, Ev Beissbarth and Jo Turner mask and clown, though this is a company for Fruit Fly graduates productions and an acclaimed presenting physical theatre skills. eds., Spinifex Press, North likely to expand in the future to Matthew Hughes, Terese Casu, The lack of training opportunities in Many individuals sought training performance at the 4th UN World Meanwhile, young Aboriginal Melbourne, 1997 include other contemporary Scott Grayland, Teresa Blake and Australia had for some time been a overseas with the likes of Monika Women's Conference & NGO acrobats are working in groups such disciplines. As well as juggling, others. The Leapers were later concern of Jane Mullett, the then Pagneux and Philippe Gaulier (both Forum in Beijing in 1995, the as Desert Acrobats (working out of Spangles and Sawdust: The Circus tumbling and aerial arts, the incorporated into Circus Oz training coordinator at The Fruit Fly former Le Coq teachers), and Jean Women’s Circus, now directed by the Kimberley Health Service in WA), in Australia, Mark St Leon, physical training incorporates (comprising stalwarts like Tim Circus and initiator of their annual Palacy’s flying trapeze school, writer-performer Sarah Cathcart, is Port Youth Theatre’s Nunga Circus in Greenhouse Publications, occupational health, anatomy and Coldwell and new, young talent) national training projects. In 1991 Ecole Volant, in Paris. This an enduring aspect of Australian collaboration with Cirkidz in Richmond Victoria, 1983 physiology. which was forging a national profile Jane received a Churchill Fellowship exposure to French circus and its circus. Donna Jackson has gone on and was a runaway success at the to research training methods leading practitioners appealed to to create Hubcap Productions with Los Angeles 1984 Olympics Arts overseas. She conceived and the more radical physical Amanda Owens, touring their work Festival. Tony Hannon took his skills established the successful Moscow performers. A visit to Australia by around Australia and extensively in to Adelaide to establish Cirkidz and, I Project in 1992, bringing the skills Archaos, a contemporary French the UK. Brisbane’s Vulcana later, Knee Hi Puppeteers. I too of Russian circus artists to the Circus, in 1990 gave permission to Women’s Circus, under the Artistic went to Adelaide. In 1984, with community. This project offered a number of performers to break Directorship of Antonella Castella, is Margie Fischer and Roxxy Bent, I another intensive, live-in training out of the stylised classical Chinese also an outlet for bold performance established Vitalstatistix, a women’s opportunity in Albury-Wodonga. acrobatic routines and explore by women. Club Swing, a sexy and theatre company in Port Adelaide. In From the group of twenty or so more irreverent styles. sassy group including Anni Davey, Sydney, Brian Keogh, Brigid Kitchin, adult participants, connections were Celia White, Catherine Niesche and Matthew Lafferty, Kristen Robson made, leading to Terese Casu, Celia Since this time graduates of Bathurst Simone O’Brien, brought us circus and Thor Blomfield worked with White, Brigid Kitchin, Catherine University’s community theatre/circus erotica in the 1990s. Legs on the Wall. They were later Niesche and Catherine Fargher courses have brought us Circus joined by Celia White, Catherine forming Party Line in collaboration Monoxide (its founders included A small group of theatre directors Niesche and Terese Casu. with directors Gail Kelly and Robin Linden Tierney and Mike Finch, now collaborating with circus and Laurie. Antonella Castella returned Artistic director of Circus Oz) and physical theatre companies has In 1985-86, Nanjing II brought more to Brisbane to form Vulcana some great solo performers. The been a significant influence. Gail enterprising acrobats to Albury, Women's Circus. With his 1990s saw an explosion of Kelly (Club Swing, Party Line, including some from the Tasmanian extraordinary tumbling knowledge, contemporary circus and physical Rock'n'Roll Circus, Circus Oz), Youth Circus. Many would go on to Volodya Evdokimov (of the Moscow theatre groups, including Co. Andrea Lemon (who directed work with Circus Oz or to form such I Project) returned to Albury- Theatre Physical (led by ex-Legs on Donna Jackson's Car Maintenance, companies as Rock’n’Roll Circus in Wodonga as a Master Trainer at the Wall performer, Beth Kayes), Explosives and Love) and Nigel Brisbane and Bizircus in Perth. The Flying Fruit Fly Circus. Sue Broadway and Jeff Turpin, Jamieson (Legs on the Wall) have Teresa Blake (after her stint with DISLOCATE (Kate Fryer, Geoff all worked with companies to Circus Oz) joined Daniel Witton to Many graduates and trainers from Dunstan), ERTH Visual & Physical further develop and integrate form desoxy Theatre in Melbourne The Flying Fruit Fly Circus have Inc (Scott Wright, Stephen Howarth, physical vocabularies into theatrical with its distinctive blend of physical gone on to individual success, Sharon Kerr) and the collective of contexts. Physical performers/ theatre, dance and design. some performing in international visual artists, actors and physical directors such as Debra Iris Batton circuses such as Cirque du Soleil. performers that made up Splinters. and Robin Laurie also work at the These training hubs have had a Solo acts learned during training Throughout this period, Stalker (David rich possibilities of blending marked influence on the skills of have often served performers well— Clarkson, Emily McCormack, Rachael narrative with physical images. Australian physical theatre Matthew Hughes‘ comic trampoline Swain) inspired audiences and fellow performers. The international act, Mary Cominos’s Tower of artists with their stiltwalking and other Jane Mullett followed her ambition to training opportunities offered by The Chairs routine, Scott Grayland’s spectacles which take them around offer first class training opportunities Flying Fruit Fly Circus have exquisite aerial work, Tanya Lester’s the world. Melbourne's Strange Fruit to Australian performers by influenced style, content and skill timeless web act and Anna added another dimension to outdoor developing the concept that finally levels, as well as contributing to the Shelper's dynamic aerial trapeze performance with their visually led to the establishment of the family feel of the industry because work as seen in Cirque du Soleil, striking creations for public spaces, National Institute for Circus Arts performers had to make a Louisiana. Flying Fruit Fly graduates which also proved internationally (NICA) at Swinburne University in commitment to travel and live on have provided the performance appealing. Melbourne. Opening in 2001, NICA
Sydney 2000 Olympic Games, opening ceremony 44 45
company/artist work premiere principal creators producer/agent contact tel+61 fax+61 email/website post documentation company/artist work premiere principal creators producer/agent contact tel+61 fax+61 email/website post documentation of this a archival p promotional of this a archival p promotional production c commercial production c commercial
acrobat acrobat continuous acrobat acrobat, Andre Gintzburger acrobat 2 6021 7137 2 6041 1291 [email protected] PO Box 348 Video apc CD a Photos ap Morgan Lewis Hot Banana Morgan 3/00 Morgan Lewis Morgan Lewis Morgan Lewis 2 9365 7082 [email protected] 3/40 Oakley Rd Video ap Photos apc (Europe), MPP (Australia) Albury NSW 2640 North Bondi NSW 2026 Brochure a Aphids/Kokon Maps 11/00 David Young, Juliana Hodkinson, Aphids Martel Ollerenshaw 0417 677256 03 9328 2248 [email protected] 2 Erskine St Video a CD a Photos a Hubcap Productions Car Maintenance 8/96 Donna Jackson, Andrea Lemon Hubcap Productions Donna Jackson 3 9399 2451 3 9399 2451 [email protected] 125 North Rd Video p Photos p Louise Beck North Melbourne VIC 3051 Brochure apc Explosives and Love Newport VIC 3015 Brochure p Aphids Overheard at Inveresk 4/01 David Young, Michael Hewes Aphids David Young 3 9417 7544 3 9328 2248 [email protected] 2 Erskine St Video a CD a Photos a Hubcap Productions Body Celebration 8/96 Donna Jackson, Amanda Owens Hubcap Productions Donna Jackson 3 9399 2451 3 9399 2451 [email protected] 125 North Rd Video p Photos p North Melbourne VIC 3051 Brochure a of the Machine Newport VIC 3015 Brochure p Arena Theatre Company Eat Your Young 3/01 Rosemary Myers & collaborators Arena Theatre Company General Manager 3 9329 6266 3 9329 0366 [email protected] PO Box 179 Video p CD-ROM p Photos p Igneous Body in Question 5/99 Suzon Fuks, James Cunningham Igneous James 2 6682 4015 2 6682 5691 [email protected] 59 Beech St Video ap CD p www.arenatheatre.com.au North Melbourne VIC 3051 Brochure p Cunningham lis.net.au/~igneous/ Evans Head NSW 2473 Photos apc Brochure ap ART DRAGON Exile 8/00 Mary Moore, Tomiko Takai Barry Plews Barry Plews 8 8232 3990 8 8232 1886 [email protected] PO Box 7162 Hutt St Video ap Photos ap IHOS Opera Days and Nights 9/90 Constantine Koukias IHOS Opera Constantine 3 6231 2219 3 6234 4445 [email protected] GPO Box 629 Video apc CD apc Photos apc www.reckless.on.net Adelaide SA 5000 with Christ Koukias Hobart TAS 7001 BAMBUCO ARCH 1999 Simon Barley Simon Barley Simon Barley 3 9531 5282 3 9531 5282 [email protected] 6/1 Tiuna Grove Video a Photos a Brochure p IHOS Opera To Traverse Water 11/92 Constantine Koukias, Ann Wulff IHOS Opera Constantine 3 6231 2219 3 6234 4445 [email protected] GPO Box 629 Video apc CD apc Photos apc www.bambuco.com.au Elwood VIC 3184 Koukias Hobart TAS 7001 BIG hART Community & site Scott Rankin, Phillip Crawford BIG hART Kim McConville 2 6752 7515, 2 6752 8515 [email protected] PO Box 901, Video c CD-ROM p Photos p IHOS Opera The Divine Kiss 9/98 Constantine Koukias IHOS Opera Constantine 3 6231 2219 3 6234 4445 [email protected] GPO Box 629 Video apc CD a Photos apc works 0408 230 365 www.cinemedia.net/bighart Devonport, Tas 7320 Brochure p Koukias Hobart TAS 7001 Bizircus Boyzircus 1/01 Ross Vegas, Bizircus Bizircus Bizircus 8 9335 3572 8 9335 3886 [email protected] PO Box 999 Video p CD a Photos ap Ilbijerri Aboriginal & Torres Stolen 1998 Ilbijerri Aboriginal & Torres Ilbijerri & Playbox Theatre Manager 3 9329 9097 3 9329 9105 [email protected] North Melbourne Town Hall Video ap Photos ap www.bizircus.com Fremantle WA 6160 Strait Islander Theatre Strait Islander Theatre Co-operative www.ilbijerri.org.au Cnr Errol and Queensbury Streets Co-operative Limited North Melbourne VIC 3051 Bizircus More! 2/99 Ross Vegas, Isobell Lyall, Bizircus Bizircus 8 9335 3572 8 9335 3886 [email protected] PO Box 999 Video p Photos ap Brendan Coleman www.bizircus.com Fremantle WA 6160 IRAA Theatre Interior Sites Project: 6/00 Renato Cuocolo, Roberta Bosetti John Paxinos & Associates John Paxinos 3 96906131, 3 96994885 [email protected] 117 Sturt Street Video apc Brochure apc The Secret Room 0419327915 www.iraatheatre.com.au Southbank VIC 3006 CD-ROM apc Photos apc Born in a Taxi What goes up! 12/00 Born in a Taxi Sandy Matlock Born in a Taxi 3 9534 8986 3 9525 3593 [email protected] c/o Theatreworks PO Box 1205 Video ap Photos ap http://home.primus.com.au/caines/taxi St Kilda VIC 3182 Kage physical theatre No (Under) Standing 5/00 Kate Denborough & Kage physical theatre Kate Denborough 3 94175805, 3 9486 4675 [email protected] PO Box 1421 Video apc Photos apc Born in a Taxi Seduction 12/00 Born in a Taxi Sandy Matlock Born in a Taxi 3 9534 8986 3 9525 3593 [email protected] c/o Theatreworks PO Box 1205 Video ap Photos ap Anytime Gerard Van Dyck 0418 137 870 Collingwood VIC 3066 Brochure ap http://home.primus.com.au/caines/taxi St Kilda VIC 3182
Sue Broadway, Jeff Turpin Eccentric Acts 1998 Sue Broadway, Jeff Turpin Marguerite Pepper Productions Tory Loudon 2 9699 2111 2 9699 9405 [email protected] 24 Telopea St Video p Photos p Brochure p Kooemba Jdarra Piccaninni Dreaming 4/01 Kooemba Jdarra, Kooemba Jdarra Indigenous Vera Ding 7 3221 1660 7 3229 1191 [email protected] Floor 3, Metro Arts Building, Video p Photos p Brochure p & collaborators www.mpproductions.com.au Redfern NSW 2016 Indigenous Performing Arts Anthony Newcastle Performing Arts www.brisbane247.com/kj 109 Edward Street Brisbane QLD 4000 Stacey Callaghan when I was a boy 6/00 Stacey Callaghan Stacey Callaghan Stacey Callaghan 7 3206 4477 [email protected] 72 Summit St Sheldon QLD 4157 Video ap Photos ap Kooemba Jdarra Goin' to the Island 2000 Nadine McDonald, Therese Collie Kooemba Jdarra Indigenous Vera Ding 7 3221 1660 7 3229 1191 [email protected] Floor 3, Metro Arts Building, Video p Indigenous Performing Arts Performing Arts www.brisbane247.com/kj 109 Edward Street Brisbane QLD 4000 Photos p Brochure p Cardoso Flea Circus Cardoso Flea Circus 11/95 Maria Fernanda Cardoso, 222 Productions Maria F. Cardoso, 2 9130 6307 2 9130 6307 [email protected] 3/152 Brighton Blvd Video apc Photos apc Ross Rudesch Harley Ross R. Harley Bondi NSW 2026 Brochure apc The Leaping Loonies The Leaping Loonies ongoing Tim Freeman, Daniel Thew, Marguerite Pepper Productions Marguerite Pepper, 2 9699 2111 2 9699 9405 [email protected] 24 Telopea Street Video p Photos pc Scott Grove Violetta Tosic mpproductions.com.au Redfern NSW 2016 Brochure pc Kate Champion Face Value 10/96 Kate Champion Performing Lines Wendy Blacklock 2 9319 0066 2 9318 2186 [email protected] Suite 6/ 245 Chalmers St Video apc Photos apc www.performinglines.org.au Redfern 2016 Legs on the Wall Under the Influence 2/98 Kate Champion, Legs on the Wall Legs on the Wall General Manager 2 9560 1222 2 9564 6061 [email protected] 24/142 Addison Rd Video ap Photos ap www.legsonthewall.com.au Marrickville NSW 2204 Chrome Pink Fit 1998 Tony Strachan, Anthony Cogin, Marguerite Pepper Productions Violetta Tosic 2 9699 2111 2 9699 9405 [email protected] 24 Telopea Street Video apc Photos apc Craig Forety, Paul Eastway, www.mpproductions.com.au Redfern NSW 2016 Brochure apc Legs On The Wall Homeland 12/98 Nigel Jamieson, Legs on the Wall Legs on the Wall General Manager 2 9560 1222 2 9564 6061 [email protected] 24/142 Addison Rd Video ap Photos ap Daniel Kennedy, Paul Wilson www.legsonthewall.com.au Marrickville NSW 2204 Brochure p Chrome Sharks 1989 Tony Strachan et al Marguerite Pepper Productions Violetta Tosic 2 9699 2111 2 9699 9405 [email protected] 24 Telopea Street Video apc Photos apc Deborah Leiser, a room with no air 7/98 Deborah Leiser, Leiser, Heilmann, Heywood Regina Heilmann 2 9568 3919 2 9568 3919 [email protected] 201 Addison Rd Video a CD-ROM p www.mpproductions.com.au Redfern NSW 2016 Brochure apc Regina Heilmann, Regina Heilmann, Marrickville NSW 2204 Photos ap Brochure p Nikki Heywood Nikki Heywood Chrome Lizards 1996 Tony Strachan et al Marguerite Pepper Productions Violetta Tosic 2 9699 2111 2 9699 9405 [email protected] 24 Telopea Street Video apc Photos apc www.mpproductions.com.au Redfern NSW 2016 Brochure apc Machine for Making Sense The 20th Century 10/00 Machine for Making Sense Machine for Making Sense Jim Denley 2 9380 9310 2 93321961 [email protected] PO Box 445 CD apc Photos ap Never Happened www.newmusicnetwork.com.au/machine Potts Point NSW 1335 Circus Oz Circus Oz ongoing Ensemble Circus Oz Matthew Hughes 3 9646 8899 3 9646 9334 [email protected] PO Box 504 Video apc CD pc Photos apc www.circusoz.com.au Port Melbourne 3207 Brochure apc The Marrugeku Company Crying Baby 2/01 The company Macdonnell Promotions Justin Macdonnell 2 9565 1655 2 9519 4613 [email protected] PO Box 467 Video ap CD a Photos ap Newtown NSW 2042 Cirfunkus The Web & The Cradle 1990 Tanya Lester, Alan Fowler Marguerite Pepper Productions Tory Loudon 2 9699 2111 2 9699 9405 [email protected] 24 Telopea Street Video p CD p Photos p www.mpproductions.com.au Redfern NSW 2016 Brochure p The Men Who Knew Too Much Virtual Humanoids 7/00 Simon Hill, Adam Nash, Susie Dee The Men Who Knew Too Much Simon Hill 3 9376 4947 3 9376 0701 [email protected] PO Box 500 Video ap CD ap Photos ap tmwktm.com Flemington VIC 3031 CD-ROM apc Brochure p Co. Theatre Physical Wonder Alice Wonder 1995 Beth Kayes, Carlos Gomes, Marguerite Pepper Productions Violetta Tosic 2 9699 2111 2 9699 9405 [email protected] 24 Telopea Street Video apc Photos apc Hope Csutoros www.mpproductions.com.au Redfern NSW 2016 Brochure apc The Men Who Knew Too Much Ascent of Suit 4/97 The Men Who Knew Too Much, The Arts Centre of Victoria Simon Hill 3 9376 4947 3 9376 0701 [email protected] PO Box 500 Video ap CD ap Photos ap Susie Dee tmwktm.com Flemington VIC 3031 Brochure p Co. Theatre Physical Miss Havisham's Dream 1999 Beth Kayes et al Marguerite Pepper Productions Violetta Tosic 2 9699 2111 2 9699 9405 [email protected] 24 Telopea Street Video apc Photos apc www.mpproductions.com.au Redfern NSW 2016 Brochure apc not yet it’s difficult scenes of the beginning 3/01 David Pledger, Peter not yet it’s difficult David Pledger 3 9537 0774 3 9537 0774 [email protected] PO Box 1113 Video apc CD-ROM apc performance group from the end Eckersall, Paul Jackson performance group www.nyid.net Collingwood VIC 3066 Photos apc Brochure apc deckchair theatre Inc LUNA 2/01 Angela Chaplin, Kavisha Mazzella deckchair theatre David Gerrand 8 9430 4771 8 9335 4210 [email protected] PO Box 130 Video a CD ap Photos a www.deckchairtheatre.scoop.com.au Fremantle WA 6959 not yet it’s difficult training squad 10/96 David Pledger, Paul Jackson not yet it’s difficult David Pledger 3 9537 0774 3 9537 0774 [email protected] PO Box 1113 Video apc CD-ROM apc performance group performance group www.nyid.net Collingwood VIC 3066 Photos apc Brochure apc De Quincey Etc NO COLD FEET 5/00 De Quincey Etc De Quincey Company Tess de Quincey 0414 836 542, 2 9817 1440 [email protected] c/o Dept Performance Studies, Video p Photos p 2 9817 4542 www.bodyweather.net Woolley Building, Manning Road, The opera Project Inc El Inocente 5/01 Nigel Kellaway, Richard Vella The opera Project Inc Nigel Kellaway 2 9516 3762 2 9516 3762 [email protected] 72 Margaret Street Video ap CD a Photos ap University of Sydney NSW 2006 Newtown NSW 2042 Brochure ap Tess de Quincey Nerve 9 5/01 Amanda Stewart, Debra Petrovitch, De Quincey Company Tess de Quincey 0414 836 542, 2 9817 1440 [email protected] 8 Joly Parade Video a CD a Photos p The opera Project Inc The Berlioz, 1997 Nigel Kellaway, Annette Tesoriero The opera Project Inc Nigel Kellaway 2 9516 3762 2 9516 3762 [email protected] 72 Margaret Street Video ap CD a Photos ap Francesca da Rimini, Tess de Quincey 2 9817 4542 www.bodyweather.net Hunters Hill NSW 2110 our vampires ourselves Keith Gallasch Newtown NSW 2042 Brochure ap desoxy Theatre 98.4%DNA being human 1998 Teresa Blake, Daniel Witton desoxy Theatre Alix Rhodes 3 9384 2097 3 9384 2097 [email protected] PO Box 2045 Lygon St Video ap CD ap CD-ROM ap Party Line Steel Fracture 4/01 Party Line Party Line Gail Kelly 2 9552 2865 2 9552 2865 [email protected] PO Box 645 Video ap CD ap www.netspace.net.au/~desoxy Brunswick VIC 3056 Photos apc Brochure ap [email protected] Glebe NSW 2037 Photos ap www.performancepartyline.com DISLOCATE Three Speed Crunch Box 10/99 Kate Fryer, Geoff Dunstan, DISLOCATE Kate Fryer, 3 95317913 3 95317913 [email protected] PO Box 2102 Video ap CD a CD-ROM ap Matt Wilson Geoff Dunstan www.dislocate.net Fitzroy VIC 3065 Photos ap Brochure ap Party Line Divas 10/95 Gail Kelly, Celia White Party Line Gail Kelly 2 9552 2865 2 9552 2865 [email protected] PO Box 645 Photos ap [email protected] Glebe NSW 2037 DISLOCATE The Arrivalists 3/01 Kate Fryer, Geoff Dunstan et al DISLOCATE Kate Fryer, 3 95317913 3 95317913 [email protected] PO Box 2102 Video ap CD a CD-ROM ap www.performancepartyline.com Geoff Dunstan www.dislocate.net Fitzroy VIC 3065 Photos ap Brochure ap Performing Lines The Theft of Sita 3/00 Nigel Jamieson, Paul Grabowsky Performing Lines Wendy Blacklock 2 9319 0066 2 9318 2186 [email protected] Suite 6/245 Chalmers St Video apc CD apc doppio-para//elo The Last Child 3/00 Linda Marie Walker, Teresa Crea et al doppio-para//elo Teresa Crea 8 8231 0070 8 8211 7323 [email protected] PO Box 8077 Station Arcade Video ap CD apc Photos ap www.performinglines.org.au Redfern NSW 2016 Photos apc www.doppio-parallelo.on.net Adelaide SA 5000 Brochure ap REM Theatre Company Frozen Girl 6/00 Roger Rynd et al REM Theatre Company Marguerite Pepper 2 9699 2111 2 9699 9405 [email protected] 24 Telopea Street Video apc Photos apc doppio-para//elo Tracking Time 3/98 Teresa Crea, James Coulter et al doppio-para//elo Teresa Crea 8 8231 0070 8 8211 7323 [email protected] PO Box 8077 Station Arcade Video ap Photos ap www.mpproductions.com.au Redfern NSW 2016 Brochure apc www.doppio-parallelo.on.net Adelaide SA 5000 Brochure ap Rock'n'Roll Circus Sonata for Ten Hands 6/00 Yaron Lifschitz Rock'n'Roll Circus Linden Tierney 7 3852 3110 7 3852 3120 [email protected] PO Box 116 Video ap Photos ap Joanna Dudley, Juan Kruz My Dearest My Fairest 5/99 Joanna Dudley, Joanna Dudley, Joanna Dudley 8 8344 8008 [email protected] 2 Daphne St Video apc CD apc DVD apc www.rocknrollcircus.com Fortitude Valley QLD 4006 Garaio de Esnaola Juan Kruz Garaio de Esnaola Juan Kruz Garaio de Esnaola Prospect SA 5082 Photos apc Rock'n'Roll Circus Tango 3/01 Yaron Lifschitz, Ralph Meyers Rock'n'Roll Circus Linden Tierney 7 3852 3110 7 3852 3120 [email protected] PO Box 116 Video a Photos a ELISION Ensemble Moon Spirit Feasting 3/00 Liza Lim, Beth Yahp ELISION Ensemble Daryl Buckley 7 3365 7314 7 3365 7491 [email protected] School of Music Video ap CD ap Photos ap www.rocknrollcircus.com Fortitude Valley QLD 4006 www.elision.org.au University of Queensland QLD 4072 skadada skadada 1995 Jon Burtt, Katie Lavers Cultural Pursuits Australia P/L Henry Boston, 8 9444 3633 8 9201 0588 [email protected] PO Box 240 Video apc CD apc ERTH Visual & Physical Inc The Garden 10/00 ERTH Visual & Physical Inc ERTH Visual & Physical Inc Christopher Hudson 2 9319 2845 2 9319 2845 [email protected] 41 Gerard Street Video apc Photos apc Bayswater WA 6053 Photos apc Brochure apc www.erth.comcen.com.au Alexandria NSW 2015
ERTH Visual & Physical Inc Gargoyles 6/99 ERTH Visual & Physical Inc ERTH Visual & Physical Inc Christopher Hudson 2 9319 2845 2 9319 2845 [email protected] 41 Gerard Street Video apc Photos apc skadada boop! 1997 Jon Burtt, Katie Lavers Cultural Pursuits Australia P/L Henry Boston, 8 9444 3633 8 9201 0588 [email protected] PO Box 240 Video apc CD apc www.erth.comcen.com.au Alexandria NSW 2015 Bayswater WA 6053 Photos apc Brochure apc 5 Angry Men the Bells 2/97 Tomek Koman, Simon Woodward 5 Angry Men Eleanor Whitworth 3 9489 2236 3 9329 2272 [email protected] 103 Best Street Video ap CD-ROM a Photos ap Frans Brood Prdtns +32 (0) 9/234 1212 +32 (0) 9/265 9650 [email protected] North Fitzroy VIC 3068 Snuff Puppets Boom Family & 1999-00 Snuff Puppets Snuff Puppets Sandra Ayache 3 9687 9133 3 9687 5010 [email protected] 395 Barkly St Video p Photos p www.fransbrood.com The Dancing Cow Show www.snuffpuppets.com Footscray VIC 3011 Brochure p The Flying Fruit Fly Circus The Gift 12/99 Kim Walker The Flying Fruit Fly Circus Kathyrn Hindley 2 6021 7044 2 6021 7238 [email protected] PO Box 479 Video pc Photos pc Snuff Puppets Forest in the Night 1999 Snuff Puppets Snuff Puppets Sandra Ayache 3 9687 9133 3 9687 5010 [email protected] 395 Barkly St Video p Photos p Brochure p www. fruitflycircus.com.au Wodonga VIC 3689 Brochure apc www.snuffpuppets.com Footscray VIC 3011 The Flying Fruit Fly Circus A Backyard Barbie 3/01 Kim Walker The Flying Fruit Fly Circus Kathyrn Hindley 2 6021 7044 2 6021 7238 [email protected] PO Box 479 Photos apc Brochure apc Spare Parts Puppet Theatre The Bunyip of 4/98 Noriko Nishimoto Spare Parts Puppet Theatre Olwyn Williams 8 9335 5044 8 9335 5044 [email protected] PO Box 897 Video ap Photos ap www. fruitflycircus.com.au Wodonga VIC 3689 Berkeley’s Creek www.sppt.asn.au Fremantle WA 6160 Brochure ap Frank: Austral Asian Salome 9/97 Jacqui Carroll Frank:AAPE Kubler Auckland 7 3368 1700 7 3368 1711 [email protected] PO Box 1062 Video a Photos apc Spare Parts Puppet Theatre Eat the Moon 6/00 Noriko Nishimoto Spare Parts Puppet Theatre Olwyn Williams 8 9335 5044 8 9335 5044 [email protected] PO Box 897 Video ap Photos ap Performance Ensemble Management www.ozfrank.com Milton QLD 4064 Brochure p www.sppt.asn.au Fremantle WA 6160 Brochure a Frank: Austral Asian The Tale of Macbeth 1995 Jacqui Carroll Frank:AAPE Kubler Auckland 7 3368 1700 7 3368 1711 [email protected] PO Box 1062 Video a Photos apc Stalker Theatre Company Blood Vessel 3/98 Stalker Theatre Company Macdonnell Promotions Justin Macdonnell 2 9565 1655 2 9519 4613 [email protected] PO Box 467 Video ap Photos ap Performance Ensemble Management www.ozfrank.com Milton QLD 4064 Brochure p Newtown NSW 2042 Gravity Feed Inc. HOST 1/99 Gravity Feed, Horst Kiechle Gravity Feed Alan Schacher 2 9558 8381 2 9558 8381 [email protected] 8/9 View St Video ap CD a Stelarc Various works since 1968 Stelarc Stelarc Stelarc 3 97437517 3 97437517 [email protected] 4 Dorset Place CD pc CDROM c Photos pc 2 9569 7800 Marrickville NSW 2204 Photos ap www.stelarc.va.com.au West Melton VIC 3337 Gravity Feed Inc. Tabernacle 12/99 Gravity Feed, Urban Theatre Projects Gravity Feed Alan Schacher 2 9558 8381 2 9558 8381 [email protected] 8/9 View St Video ap CD a Photos ap Amanda Stewart ≠ ; As Is 1995; 2001 Amanda Stewart Amanda Stewart Amanda Stewart 2 9319 6648 2 9319 6648 - PO Box 333 Video apc CD apc Photos apc 2 9569 7800 Marrickville NSW 2204 Surry Hills NSW 2001 CD-ROM apc Brochure apc 46 47
Federal Government's Department of Council; The opera Project Inc.—NSW company/artist work premiere principal creators producer/agent contact tel+61 fax+61 email/website post documentation Communications, Information Technology & Ministry for the Arts, Australia Council; Party of this a archival p promotional the Arts (DCITA), Australia Council, NSW Line—Australia Council; REM Theatre production c commercial Ministry for the Arts, Arts Victoria, NSW Company—Australia Council, NSW Ministry Department of Sport & Recreation, NSW for the Arts, Marguerite Pepper Productions; Strange Fruit The Field 10/94 Suzanne Chaundy, Roderick Poole Roderick Poole Roderick Poole 3 9384 6903 3 9383 5131 [email protected] 62 Davies Street Video ap Photos ap Department of Education, Myer Foundation; Rock'n'Roll Circus—Arts Queensland, www.strangefruit.net.au Brunswick VIC 3056 Gravity Feed—Australia Council, NSW Australia Council, Brisbane City Council, Strange Fruit Spheres 3/01 Suzanne Chaundy, Roderick Poole Roderick Poole Roderick Poole 3 9384 6903 3 9383 5131 [email protected] 62 Davies Street Video ap Photos ap Ministry for the Arts, Visy Industries; Hubcap Brisbane Powerhouse Centre for Live Arts; www.strangefruit.net.au Brunswick VIC 3056 Productions—Australia Council, Arts Victoria; skadada—Australia Council, ArtsWA, Imago, Terrapin Theatre The Dark at the Top 11/00 Noëlle Janaczewska, Terrapin Theatre Alicia James 3 6234 6086 3 6223 6399 [email protected] 77 Salamanca Place Video ap Photos ap Igneous—NSW Ministry for the Arts, Northern Cultural Pursuits Australia; Snuff Puppets— of the Stairs Jessica Wilson www.terrapin.org.au Hobart TAS 7004 Brochure p Rivers Performing Arts (NORPA), Pratt Australia Council, Melbourne Festival; Spare Kim Carpenter’s The Gypsy Boy 1/01 Gillian Rubinstein, Kim Carpenter Kim Carpenter’s Theatre of Image Neil Hunt 2 9360 4734 2 9360 6256 [email protected] 4 Clifton Reserve Video apc CD apc Foundation, Myer Foundation, VicHealth, Parts—ArtsWA, Australia Council; Stalker Theatre of Image David Chesworth www.theatreofimage.citysearch.com.au Surry Hills NSW 2010 Photos apc Brochure apc Paraquad Victoria, The Australian Embassy, Theatre Company—Australia Council, Kim Carpenter’s Jake & Pete 7/97 Gillian Rubinstein, Kim Carpenter Kim Carpenter’s Theatre of Image Neil Hunt 2 9360 4734 2 9360 6256 [email protected] 4 Clifton Reserve Video apc CD apc Belgium; IHOS Opera—Arts Tasmania, Macdonnell Promotions; Stelarc—Australia Theatre of Image Fabian Astore www.theatreofimage.citysearch.com.au Surry Hills NSW 2010 Photos apc Brochure apc Australia Council; Ilbijerri Aboriginal & Torres Council; Strange Fruit—Arts Victoria, Australia Theatre Kantanka The Eye 3/00 Michael Cohen, Carlos Gomes Theatre Kantanka Michael Cohen 2 9310 7899 2 9698 1966 [email protected] Level 1 486 Elizabeth Street Video apc Strait Islander Cooperative Ltd & Playbox Council; Terrapin Theatre—Australia Council, www.kantanka.com.au Surry Hills 2010 NSW Photos apc Brochure ap Theatre—Australia Council, Arts Victoria, City Arts Tasmania; Theatre of Image—Australia Funding, production and Broadway, Jeff Turpin—Australia Council, Theatre Kantanka Waters of Brightness 3/00 Michael Cohen, Carlos Gomes Theatre Kantanka Michael Cohen 2 9310 7899 2 9698 1966 [email protected] Level 1 486 Elizabeth Street Video ap Photos apc of Melbourne, Aboriginal Affairs Victoria; The Council, NSW Ministry for the Arts, Macquarie www.kantanka.com.au Surry Hills 2010 NSW Brochure a management credits NSW Ministry for the Arts, Marguerite Pepper Leaping Loonies—Marguerite Pepper University, Myer Foundation; Theatre Productions; Stacey Callaghan—Brisbane Productions; IRAA Theatre—Arts Victoria, Kantanka—Australia Council, NSW Ministry Neil Thomas The Urban Dream 10/96 Neil Thomas, Phillip Wadds, Cultural Pursuits Henry Boston 8 9444 3633 8 9201 0588 [email protected] PO Box 202 Video ap CD-ROM ap Capsule Richard Jeziorny Australia Pty Ltd www.urbandream.com North Perth WA 6906 Photos ap acrobat—Marguerite Pepper Productions; Powerhouse Centre for the Live Arts, Arts Australia Council, Italian Institute of Culture for the Arts; The Theft of Sita—Performing Aphids—City of Melbourne, Arts Victoria, Queensland; Cardoso Flea Circus—Sydney (Melbourne); Kage physical theatre—Australia Lines, The Confederation of Australian Neil Thomas, The Museum of 2000 Neil Thomas, Katy Bowman Cultural Pursuits Henry Boston, 8 9444 3633 8 9201 0588 [email protected] PO Box 202 Video p Photos a Katy Bowman Modern Oddities Australia Pty Ltd Annie Thomson www.oddmuseum.com North Perth WA 6906 Australia Council, Det Danske Kulturinstituts Festival; Kate Champion—Australia Council, Council, Arts Victoria, City of Yarra, Next International Arts Festivals through The Major Rådighedspulje & Kulturudvekslingspulje, Performing Lines; Chrome—Marguerite Wave Festival, The Choreographic Centre; Festivals Initiative of The Australia Council: Margaret Trail K-Ting! Extended Play 2/01 Margaret Trail Margaret Trail Margaret Trail 3 95316670 [email protected] 5/37 Foam Street Elwood VIC 3184 Video ap CD ap Photos p Statens Musikråd, Statens Kunstfond, Dansk Pepper Productions; Circus Oz—Australia Kooemba Jdarra Indigenous Performing Adelaide Festival, Melbourne Festival; Neil The transmute collective Liquid Gold 3/01 Keith Armstrong, Lisa O’Neill et al Keith Armstrong 0412 749 72, [email protected] 18 Agars St Video ap Photos ap Komponistforening, Statens Teaterråd, Royal Council, Arts Victoria, City of Melbourne, Arts—Aboriginal and Torres Strait Islander Thomas, The Urban Dream Capsule—Arts 7 3876 2304 www.outlook.com.au/keith/ Rosalie QLD 4064 Danish Embassy in Canberra, Ten Days on Network 7; Cirfunkus—Marguerite Pepper Commission (ATSIC), Arts Queensland, Victoria, Australia Council, Melbourne Festival, Two Turns CENSORED 3/01 Wendy McPhee, Deborah Pollard Two Turns Wendy McPhee 3 6228 2502, 3 6224 0245 [email protected] 21A Brushy Creek Rd Video ap Photos apc the Island festival, Queen Victoria Museum & Productions; Co. Theatre Physical— Australia Council; Legs on the Wall—NSW Yarra Council, Melbourne Museum; The 0408 557 414 www.theatrewise.com.au Lenah Valley TAS 7008 Brochure apc Art Gallery, Launceston, The Confederation of Marguerite Pepper Productions, Melbourne Ministry for the Arts, Australia Council, transmute collective—Arts Queensland, Site Umbilical Brothers THWAK 2/99 Umbilical Brothers David J Foster David J Foster 1 212 245 1009 1 212 208 6815 [email protected] 211 W56th St, Ste 19a Video apc CD apc Photos apc Australian International Arts Festivals through Festival; deckchair theatre Inc—Australia Company B Belvoir, City of Sydney; Deborah Gallery (Sheffield England), Brisbane New York NY 10019 USA Brochure apc CD-ROM apc The Major Festivals Initiative of The Australia Council, ArtsWA, Fremantle Arts Centre; De Leiser & Regina Heilmann—Australia Council, Powerhouse Centre for the Live Arts, Urban Theatre Projects Site Works Urban Theatre Projects Urban Theatre Projects Harley Stumm 2 9707 2111 2 9707 2166 [email protected] PO Box 707 Video ap CD a Photos a Council, Tasmania Community Fund; Arena Quincey Etc—NSW Ministry for the Arts, City NSW Ministry for the Arts, Playworks National Queensland University of Technology; Two www.urbantheatre.com.au Bankstown NSW 1885 Brochure a Theatre Company—Australia Council, Arts of Sydney; desoxy Theatre—Arts Victoria, Centre for Women Writers, University of NSW, Turns—Arts Tasmania, Salamanca Arts version 1.0 The second Last 4/01 The company David Williams David Williams 2 9517 9692 2 9699 5308 [email protected] 69 Yelverton St Video a Photos ap Victoria, Department of Foreign Affairs and Australia Council; DISLOCATE—Next Wave Goethe Institute; Machine for Making Sense— Centre, Ten Days on the Island festival; Supper Sydenham NSW 2044 Brochure ap Trade (DFAT), Cinemedia, City of Melbourne; Festival, Arts Victoria, City of Melbourne, Myer Australia Council; The Marrugeku Company— Umbilical Brothers—David J Foster; Urban ART DRAGON—Arts SA, Flinders University Foundation, Moomba Festival; doppio- Australia Council, The Confederation of Theatre Projects—Australia Council, NSW Stevie Wishart, Lisa DiLillo EScape 2/01 Stevie Wishart, Lisa DiLillo Argos Paul Willemsen +32 2 229 0003 +32 2 223 73 [email protected]/calender/0102/ PO Box 445, Potts Point 1335, Australia, Video ap CD ap Photos ap Argos, Werkstraat 13, B 1000 Brussels Brochure a Drama Centre, Reckless Moments; para//elo—Australia Council, Arts SA; Joanna Australian International Arts Festivals through Ministry for the Arts; version 1.0—Australia BAMBUCO—Arts Victoria, Australia Council, Dudley—Berlin Theatre Treffen; ELISION The Major Festivals Initiative of The Australia Council, NSW Ministry for the Arts; William Stevie Wishart SOLO 1/00 Stevie Wishart Stevie Wishart Stevie Wishart 0419 497 639 2 9332 1961 [email protected] PO Box 445, Potts Point 1335, Australia; CD apc Photos ap Brochure a wwwl.laudanum.net/ut/wishart 352 Cherryhinton Road Cambridge CB1 8AZ UK Department of Foreign Affairs and Trade Ensemble—Australia Council, Arts Council: Perth International Arts Festival, Yang—Australia Council; Yaschin Ensemble— (DFAT); Big hART—Casino Community Queensland; 5 Angry Men—Australia Council; Sydney Festival; The Men Who Knew Too ArtsSA; Yirra Yaakin Noongar Theatre— William Yang Blood Links 10/99 William Yang, Stephen Rae Performing Lines Wendy Blacklock 2 9319 0066 2 9318 2186 [email protected] Suite 6/245 Chalmers St Video apc Photos apc www.performinglines.org.au Redfern NSW 2016 Benefits Fund, NSW Ministry for the Arts, Arts Victoria; ERTH Visual & Physical Inc.— Much—Australia Council, Arts Victoria, Australia Council, ArtsWA, Aboriginal and Australia Council, Myer Foundation; Bizircus— NSW Ministry for the Arts, Marguerite Pepper Scienceworks Museum; not yet it’s difficult Torres Strait Islander Commission (ATSIC). Yaschin Ensemble Mnemosyne 12/99 Netta Yaschin & ensemble Yaschin Ensemble Netta Yaschin 2 9130 4530 [email protected] 2/42 Curlewis St Video ap Photos ap Brochure a ArtsWA, Perth International Arts Festival; Sue Productions; The Flying Fruit Fly Circus—the 0415708747 Bondi NSW 2026 performance group—Arts Victoria, Australia Yirra Yaakin Djildjit 9/00 David Milroy, Derek Nannup Yirra Yaakin Noongar Theatre Sam Cook 8 9202 1966 8 9202 1966 [email protected] GPO Box S1598 Video ap Photos ap Brochure p Noongar Theatre Aboriginal Corporation www.yirrayaakin.asn.au Perth WA 6845 Yirra Yaakin Solid 1/00 Phil Thomson Yirra Yaakin Noongar Theatre Sam Cook 8 9202 1966 8 9202 1966 [email protected] GPO Box S1598 Video ap Photos ap Brochure p Noongar Theatre Aboriginal Corporation www.yirrayaakin.asn.au Perth WA 6845 Photography credits
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Cover Crying Baby John Green 22 TrackWork Heidrun Löhr Works-in-progress New media artist and dancer Cazerine After choreographing 30 children for Neil ARCH Simon Barley K-ting! Extended Play Peter Rosetzsky Barry has been researching the facilitation of Armfield's La Strada for the English National 4 Circus Oz Ponch Hawkes Tracking Time Peter Heydrich ELISION Ensemble's Dark Matter, an digital media in performance. She will Opera, and reviving her 1995 hit, Face Value Circus Oz Ponch Hawkes 23 The Divine Kiss Rob McCol international co-production with Norway's present her new work, Sprung, at the at The Studio, Sydney Opera House (June 5 Spheres & The Field Collin Bogaars Stolen 2000 touring cast Playbox Cikada Ensemble, visual artist Per Inge L'Attitude dance event at the Brisbane 2001), Kate Champion will be developing 6 Face Value Richard Hughes 24 Maps Yatzek Studios Car Maintenance, Explosives & Love Ponch Hawkes Bjørlo and British composer Richard Powerhouse Centre for the Live Arts in two new works. The first, About Face, is a Forest in the Night Hamilton 7 The Urban Dream Capsule Neil Thomas 24-5 The Theft of Sita Julian Crouch Barrett, takes the form of an 80-minute September 2001. companion piece to Face Value. The 98.4% being human Maximillian Botticelli/Maxbo 26 Body in Question Suzon Fuks electro-acoustic work interacting with an second, Same, same But Different, with 8 a room with no air Heidrun Löhr The Dark at the Top of the Stairs Eddie Safarik architectural installation. Dark Matter Louise Taube is re-working her multimedia seven performers, is scheduled to premiere No (Under) Standing Anytime Ross Gould 27 HOST Heidrun Löhr premieres November 2001 at Brisbane's performance, Pervert, for a new season in at the Sydney Festival 2002. Djildjit Lauren Fitzsimmons Exoskeleton D. Landwehr Powerhouse Centre for the Live Arts. Melbourne mid-2001. Dancer Taube, a 10 Stevie Wishart Joe Glaysher 28 The Cradle Matt Wilson Stevie Wishart Marcus Wildelan Eccentric Acts Heidrun Löhr frequent Company in Space collaborator, In the Northern Territory, Tracks Inc My Dearest My Fairest Choe Dong Ha What goes Up! Robyn Bingham Tasmania's IHOS Opera has been hard at performs with an actor and interacts with premieres Fierce, a new outdoor 11 Gargoyles Ian Nicholsan 29 Nerve 9 Russell Emerson work on The Tesla Project. The life of Nikola work, Black and Tran, is a collaboration with huge projections. performance event at the Darwin Festival in Virtual Humanoids Adam Nash Moon Spirit Feasting Matt Nettheim Tesla, son of a Serbian-Orthodox priest and a leading stand-up comedian, the August 2001. Featuring the Warlpiri Yawalyu 12 Goin' to the Island Rob McCol 30 Eat Your Young Jeff Busby an inventor-genius (his AC electricity system Vietnamese-Australian Hung Le. It's a black Rebecca Youdell and Russell Milledge of women of Lajamanu and Darwin performers Frozen Girl Wendy McDougall 31 Blood Links S. Kinoshita Mnemosyne David Wilson 32 Gypsy Boy Branco Gaica was used to light the 1893 World Exposition comedy that ridicules the stereotypes of Bonemap develop site specific installations Tania Lieman and Nicky Fearn with guest 13 Crying Baby John Green The Bunyip of Berkley's Creek Kevin O'Brien in Chicago) is the inspiration for Constantine and digital media performances in Cairns, artist, leading Melbourne dancer Trevor Aboriginal and Vietnamese cultures. Crying Baby John Green LUNA John Green Koukias’ production which has been Directed by Jean-Pierre Mignon, it Northern Queensland. After touring their Patrick, Fierce is an evocation of the 14 Miss Havisham's Dream Ponch Hawkes 33 The Secret Room Heather Digby commissioned by the West Australia Opera. premieres in Melbourne in May 2001 and most recent work, the wild edge, to eccentric artist, anthropologist and naturalist, ARCH Zoe Burton Amanda Stewart Heidrun Löhr then tours to Perth. Brisbane and Tokyo, they've been awarded Miss Olive Pink. ARCH (insert) Simon Barley 34 El Inocente Heidrun Löhr Sydney's The opera Project, who are an Asialink residency which will take them to 15 when I was a boy Jamie Dunbar Exile Tony Lewis Boyzircus Steve Lobo, Christine Gosfield 35 The 2nd Last Supper Heidrun Löhr touring The Berlioz: our vampires ourselves The Substation Centre in Singapore from Australian Theatre of the Deaf is re- Company in Space has been a pioneer in Sonata for Ten Hands JLX The Eye Stage One Photography to Hobart and Brisbane in 2001, will creating dance works that explore the April to July in 2001 where they'll develop a working Dislabelled, its hit show from the 16 Divas Heidrun Löhr Salome Phil Hargreaves develop a new work, The Audience and relationship between image, sound and new work. Invincible Summer: Paralympics Arts Festival Liquid Gold Sonia de Sterke 36 Machine for Making Sense Glen Barry other Psychopaths, later this year for body. These include cyberspace in Sydney in 2000. Featuring two of Theatre The Arrivalists Matt Irwin The Cardoso Flea Circus Anne Margiano production in 2002. transmissions, with one dancer in Australia After their intensive collaboration with The of the Deaf's most talented former ensemble 17 scenes of the beginning from the end Lyn Pool 37 Blood Vessel Geert Kliphuis Pink Fit Penny Clay 43 Sydney 2000 Olympics Gregg Porteous duetting with another, who might be in Hong Marrugeku Company on Crying Baby, and members, Caroline Conlon and Sofya 18 the Bells Jeff Busby 46 Black & Tran Jeff Busby Ningali Lawford's autobiographical one- between touring that show internationally, Gollan, Dislabelled is a wickedly funny Kong, or Arizona or Florida. In late 2001, the 19 Homeland Silversalt woman show for deckchair theatre, Ningali, company will premiere a major work by co- Stalker is developing a new work, cabaret-style performance about the lives of 20 skadada Michelle Milton, Katie Lavers was rapturously received across Australia Artistic Director Hellen Sky. The Architecture Incognita, with Koen Augustijnen from the hearing-impaired. Musician Blair Hot Banana Morgan Trent Roden and in the UK between 1994 and 1998 and of Biography is an interactive performance Belgium's Les Ballet C de la B and writer Greenberg is an integral part of the show, Two Turns Eddie Safarik won an Edinburgh Fringe First Award for and installation making connections between Paul Carter, about white Australia’s which is available for touring from 2001. 21 Fusion Mark Rodgers Best New Production in 1995. Her new individuals and architectural spaces. relationship with the land. 48
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