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1-4 of 4
- One man's journey through the memories, hopes, dreams and projections of what his emotional life has been or might have been. Through these 13 different dance duets with a range of tonalities, details, innuendos and revelations (and of course 13 is a rather unlucky number), we see the high points, the low points, the sublime and the deeply painful, the confronting, and the just plain silly moments from different relationships he has had or might have had, or wished he'd had.
- "The Hope Machine" maps the elision between live work for the screen and screen work for the stage. The dancers glide between the 'black box' of the famous Theatre Royal in Hobart, the empty space of the ruined Church at the Port Arthur Historic Site, the four live screen spaces of 'The Hope Machine' created by Australian visual artist Simeon Nelson, and the multiple screens created by the directors in filming and post production. Backstage, on stage, on set, on camera, in the stream of technology. Hope, pain, fear, exultation. "The Hope Machine" is a contemporary look at the subject of hope with a techno pop edge and a worldly point of view. Choreographed in, on, and around a two story "hope machine" created by Australian visual artist Simeon Nelson, the dancers revel in energy which is the engine of hope. This video dance draws fragments of the real world into its choreography making it a dance on hope which is tinged with melancholy - a not quite convinced, but damn willing to try look at creating hope from the exuberance and daring of dance.
- Sam in a Pram is a light-hearted sequel to What To Name Your Baby featuring six exuberant dancers whipping around the cavernously industrial Inveresk Railyards in Tasmania. The rough and tumble movement vocabulary references Mad Max films and Keystone Cops comedy and then stretches these references into highly articulate and astoundingly fast-paced, fully extended, electrically crackling dancing.
- "Who will it help to hear the frightening of angels?" A video dance about suffering and pushing through despair. The dancers, caught like prisoners behind the bars of the Port Arthur Historic Site, struggle to stretch out of their tightly constricted spaces and movement vocabularies to find freedom of movement and spirit. The backdrop of the Historic Site, brought to life very differently than on the usual tourist videos, provides the cells and broken stones of misery and at the same time a transcendently gorgeous vista of hope. The soundtrack borrows a classic statement by Beethoven about the power of beauty and creativity to transcend misery.