Very much wishing I could be at Proximity Festival 2017. But, as I can’t, I’m enjoying watching interviews and highlights from this and past festivals instead.
A highlight of the 2016 Festival of Live Art:
Blurring documentary with fantastical fiction, Vanitas is a smartphone procedural thriller told through the secret language of flowers.
The app: iTunes
The Facebook: Event page
‘What happens when you remove the typical social contract of the theatre seat? We invited the audience to walk in our oppressive world and they wanted to change it. The audience’s acts of touching and speaking, grabbing and yelling were both revelatory and deeply disturbing. Were they assholes or heroes?’
I’m excited for this but I really have no idea what to wear, or what ‘character’ to inhabit. I think I may have to play the role of someone who stumbled into this thing by accident and therefore looks out of place (within the imagined world of the show/party) but also as though they’re this way on purpose (at the meta level). Or, you know, I could just get over it and try to have a good time …
‘March 1972. The curtain has just closed on opening night of a brand new musical theatre experience. Backstage, the cast and crew are abuzz with adrenalin, hope, congratulations and recriminations. Do they have a smash on their hands? Were the months of hard work and late-night dance rehearsals worth it? Most importantly, who is secretly sleeping with the lead choreographer?
Live art production house The Boon Companions invite you to dig out your best Fosse-inspired outfit and throw yourself into the joy and madness of their Cast Party. There’ll be drinking, dancing, and the occasional explosive starlet meltdown.
From the team who brought you immersive theatre parties The Wedding Reception and Le Petit Salon comes a new experiential celebration of optimism and joy. Dress the part, inhabit your character, and keep your eyes and ears open at all times. You never know who or what you mind find..
Warning: Adult concepts, coarse language, loud music, alcohol served.’
‘I’m beginning to suspect that the reason SNM is so successful may be less that the experience is immersive but the fact that it is complex, compelling, and difficult to understand or complete alone. With 17 hours of content, of which only three can be experienced in a single performance, and more than 90 different rooms in which the action takes place, SNM is a social experience because it needs to be; because the performance cannot make sense without the offered experiences of other people. The story is necessarily incomplete without the pieces that other people can share.’
‘The element of choice also allows for a variety of experiences. The artist mentions that “Two people who go to one of our events can go home and they’ll both have a very different experience. One of them could go ‘Did you see that room with the piano and the glitter cannons?’ In response someone else could go ‘What are you talking about? I was in a cab ride with a horse!’ It’s not about passively sitting there as an audience sitting there and watching what is being presented for us.
“You have to seek things out if you want to and depending on the time, where you are and how much you seek, you’re experience will be completely different to everyone else.”’