Ten Days on the Island Artistic Director David Malacari reflecting on what he’s seen and what he’s thinking about in terms of the 2017 Festival program:
‘But then there are the amazing things. A Korean re-imagining of a Marquez tale in traditional Korean pansori style, or a performance installation in an old water pumping station at night time where a small audience, armed with torches, was led down through the vast concrete halls of an abandoned complex that has been turned over as a venue for street artists.
Wouldn’t that be something to wish for in Tasmania – a venue in which young artists could experiment and expand their craft and imaginations – really turning Tasmania into a creative state? Macquarie Point? Inveresk? An old hydro facility somewhere on the island? The old Burnie paper mill?’
via From NY to Seoul – seeking artistic gems for 2017 – Ten Days on the Island.
Yes! Yes please … keep thinking in this direction. As much as I’ve enjoyed a number of outstanding mainstage shows it’s the unusual venues and experiences that (personally) really enliven and enrich my experience (as creator and/or audience).
‘Forty people gathered expectantly in a quiet laneway tucked behind Melbourne’s vibrant Lygon Street. Like the stories of Polish writer Bruno Schulz in which reality hides extravagant strangeness, the door of a small terrace house opened into a ‘wunderkammer’, a veritable cabinet of curiosities in which each room contained twilight-zone performances of strange beauty, menacing wonder, as well as exquisite sensuality.
The event was DOMICILE, a programme of performances and installation pieces directed by Aviva Endean and staged with deft and imaginative flair in the house in which she grew up. The audience, provided with a plan of the house, wandered the rooms at will.’
via DOMICILE – Partial Durations.
I so wish I had heard about this event while it was on. Still, thank goodness for blogs like “Partial Durations” to let me know what I’ve missed out on (and who to look out for in the future).
How I wish I’d made it to NYC to see this. It’s also a really inspiring story in terms of how it all came about … there are a lot of empty rooms / buildings out there …
‘In the small rooms, winding basement, and chapel next door, he saw participants brought to tears by the interactions they had inside the House. “It always seemed like the good kind of crying, like people released some sort of emotion or some memory that they haven’t talked about in a while, and have some sort of a breakthrough or catharsis.”’
via Future of Storytelling | Immersive Theater is Still Cool.
Grab tickets fast. Opens Jan. 21st and nearly all shows sold out already. Add it to the list of shows I wish I could be at.
I’d like a job that consisted purely of travelling around the world and participating in these kinds of events. Does it exist? “Professional Audiencing” perhaps?
‘Amenities include a convertible, a night’s stay at a cozy seaside hotel and a tablet for communicating with “suspects” and keeping track of clues; certain details — the driving playlist, the contents of a picnic lunch — are customized according to a pre-trip questionnaire.’
via A Romantic Weekend for Two: Solving a Crime – The New York Times.
“Crush is an immersive live artwork for auto car washes that explores ritual cleansing for the robot age.
Created by theatre maker Sam Routledge and composer Dylan Sheridan, audiences experience the work from inside a vehicle as it is being cleaned.
Evoking the drive in cinema, audiences tune into the soundtrack via the FM radio in their vehicle as it is transmitted live on site. As the large automated robot goes about its work, Sheridan’s score syncs to its movements, in a powerful look at the future of our relationships with machines.”
Source: Crush | Junction Arts Festival | Launceston Tasmania