Häftigt blandgodis utan salt och surt
Installationen Mothlight med Skye Gellman och Naomi Francis.
Foto: Adam Potrykus
25 augusti 2011 kl 15:34, uppdaterad: 25 augusti 2011 kl 16:03 Dans, Show, Installation Perhaps, perhaps, quizás… , Mothlight, Mopa m fl Taket, Kulturhuset Performance
Fiktiva äktenskap, gladpack-cirkus, grabb- och flickdans, stripp, elektronmusik. En första Stoffkväll på Kulturhustaket är en osannolik röra av högt och lågt, konstnärlighet och rent trams.
Tanken verkar vara att publiken ska kastas mellan nycirkus, subtil dans, clowneri och burleskshow och njuta av just blandningen, det oförutsägbara och genremixen. Allt är möjligt det är den undertext som knyter samman kvällen.
Inte sedan Scenhöstfestivalerna under början av 1980-talet har någon arrangerat en så stort anslagen gruppfestival. Stoff är förstås något annat och mer: stora konstnärliga experiment har fått vika för små, korta och spretiga föreställningar. En del är vitsiga mer än något annat, performancevågen har ersatt det genomtänkta och det dramatiska berättandet.
Här får också elektronmusiken plats när kvällen övergår till augustinatt. Anna Zaradnys solokonsert för dator känns till att börja med som att befinna sig inuti tinnitus, ett höghastighetsbrus av vassa ljud.
Generöst nog är föreställningarna på Kulturhustaket gratis. Först ut är Perhaps, perhaps, quizás… av mexikanska Gabriela Muñoz. Hon genomför en halvtimmeslång clownisk akt där hon gifter sig med en generad man ur publiken. Det är roligt att iaktta hur han förhåller sig till fiktionen och den bröllopsceremoni Muñoz iscensätter på scenen med inlånad präst.
Hon har en stark, aktiv roll och här hämnas hon på århundraden av manlig dominans. Det hela blir förstås olika var kväll och beror på vem som plockas upp från publiken och hur skeendet utvecklas. Det är kul, lättsamt sympatiskt.
Installationen Mothlight är något helt annat. Enman och en kvinna (Skye Gellmann och Naomi Francis från Australien) viras in med kilometervis av gladpack till ett slags puppor som man bryter sig ur, föds ur. Därefter påbörjas en märklig parningsdans med drag av nycirkus – på en gång plågsamt och vackert, där man bär varandras tyngd och kropp. Människan som mott och mått, som insekt och tid – snyggt.
Innan spanjorerna Mopa börjar snabbstrippar svenska burleskartisen Lily Deluxe, och gruppen ”Johanssons pelargoner och dans” tjurrusar genom Post Wedding Depression klädda som brudar.
Mopa är den stora behållningen. Två manliga dansörer börjar med att nostalgiskt, långsamt och subtilt skildra minnen från sin barndom vilket övergår till vuxenmobbning när ännu en man kommer in på scenen. Det är absurt, drastiskt och bra dansat om än aningen diffust mot slutet. Våldet verkar vara en immanent vuxenmanlig beståndsdel som tar över pojkarna.
Komo tar över med sina digitala ljudirritationer och den första Stoffkvällen är slut. Stoff på taket är en handfull blandgodis där jag saknar det riktigt svarta, svåra och sura.
ezipark, Wakefield Street
ON THE tenth floor of a breezy city carpark, shredded webs of translucent plastic criss-cross the space. Audience members pick their path through the strips and chat quietly about the best place to stand. A wrapped human figure stretches against the clingwrap rope tethering it to a pole. A little distance away, a chrysalis hangs suspended from a ceiling beam. Something moves inside. Something is trying to get out.
Mothlight, performed by Skye Gellmann and Naomi Francis, is a piece of physical theatre completely suited to its bleak location. The almost meditative work blends extreme strength and balance with the austere beauty of a cobwebbed, concrete cave. Two bodies explore each other, and the environment, in silence broken only by the flapping of the plastic and faint traffic sounds rising from the street below. This is slow-motion acrobatics with a creepy heart and ritualistic composure. Even the chatty teens in the crowd are mesmerised.
Control and release, advance and retreat. The two creatures engage with each other and the boundaries of their world with precision and angular delicacy. The taut rhythm of the work is maintained throughout, with several moments of intensity and suspense that are truly impressive. It’s “don’t try this at home” stuff – hopefully, there’s a first-aid kit nearby because if something goes wrong they’re going to need it.
– Until March 13
Original Link: http://indaily.wordpress.com/2011/03/10/mothlight/
Mothlight EziPark Wakefield St, Tue Mar 8 Mention of the art-form of circus usually conjures up images of big-tops, clowns, acrobats and other such carnivalesqe pleasures. Mothlight is certainly not that kind of show! While it’s listed as being circus, and it certainly does have circus elements, this is far more surreal and theatrical. Entering the glad-wrap,plastic laden world at the top of a city carpark,you enter the enchanted world of Mothlight, where the audience finds itself standing and fluid throughout the performance, really becoming engrossed in the surroundings. Emerging from plastic cocoons, the two performers begin a journey of discovery, of their world, surroundings and each other, throwing in some impressive feats, including a bout of moth-like walking on the ceiling! With violent interludes and very good use of the space, the performers continuously leave you wondering what’s next, as you’re led through the lamp-lit world. Definitely innovative and very entertaining. Final Word: Glad-Wrapped!
Mothlight continues at EziPark Wakefield St until Sun Mar 13.
Original Link: http://www.ripitup.com.au/article/2899
FRINGE: Mothlight – Ezipark – 4.5K
This is a performance that contains absolutely no words, so it is fitting that this show is utterly indescribable for the purposes of a review. Arriving at the top level of the Ezipark on Wakefield Street at 8.30 in the evening, I couldn’t help but feel like I was embarking on some sort of nefarious enterprise, which impression was only increased by the mirroring sheepish looks on the faces of the other audience members as we were led into a lair comprising thousands of strands of… well, Gladwrap.
I am also extremely claustrophobic. Therefore I will admit that the opening ten minutes ofMothlight, which involved what can best be described as a birthing, were among the most uncomfortable in my life.
Mothlight is certainly unnerving in any event, even for those of us who don’t hyperventilate at the concept of confined spaces. Taking place in substantial darkness, this is a mesmerising display of physical exertion and acrobatics, and the breathtakingly raw intimacy of two primal characters.
While Naomi Francis’ every movement was perfectly controlled, Skye Gellman, the creator of Mothlight appeared to struggle more with the physical demands of the performance. However it is impossible to say whether his audible grunts and sighs were accidental, or an intentional enhancement of the difficulties of human physicality.
Without destroying the magic of the performance, it is difficult to describe Mothlight any further.
It is sufficient to say that this was one of the most original events I have ever been witness to, and that Mothlight is one of those Fringe gambles which can pay off or drastically disappoint you. The most unusual stage set, the mastery of the human body and the sheer originality of ‘Mothlight’ means that for most people this is likely to be a gamble which pays off.
Kryztoff Rating 4.5K
The mystique of Mothlight begins as soon as you take the lift to the ninth floor of a city car park, then the stairs to the tenth, and are greeted with a spider web of plastic wrap
The mystique of Mothlight begins as soon as you take the lift to the ninth floor of a city car park, then the stairs to the tenth, and are greeted with a spider web of plastic wrap in which the two performers are cocooned.
It’s an inspired venue and setting. The performance is intense and compelling, even at the times when there’s not a great deal happening.
After a slowish but theatrical start – and a moment when the performance literally goes in circles – it suddenly breaks into a fascinating display of circus including walking on walls and the ceiling.
The venue allows the audience to roam freely and interact with the performers (or moths).
* * * *
Ezipark, until March 13
Web of mystery fails to deliver
Mothlight featuring Skye Gellmann and Naomi Francis Source: The Courier-Mail
THE shopfront area of the Judith Wright Centre has been transformed into a dark and surreal space, criss-crossed by glistening strands of what look like clingwrap for Mothlight.
It could be a web spun by a manic, incompetent spider. The audience enters the space and explores it. One feels a part of the event.
In one corner is a man wrapped in the same clear plastic material. Suspended above our heads is a cocoon. The cocoon pulsates and crackles as a female figure emerges. She finds the man and slowly releases his bonds.
Then, as if she were blind, she feels him with her hands. It is a dramatic start to what is advertised as an innovative circus piece using “the symbolism of moths and their relationship with the light to explore the human mind and body”.
Sadly, the performances by Skye Gellman and his partner Naomi Francis never quite lived up to my expectations. Nor did they deliver on the stated theme.
A bit of fumbled funambulism (tightrope walking) and spider-like walking along walls by Gellman seemed overwhelmed by a lot of purposeless walking about hand in hand.
I kept waiting for some crescendo of physical accomplishment that never arrived, and nothing remotely moth-like emerged.
Darlings of fringe festivals they may be (Gellman won an award for a “feat of physical astonishment” for Retinal Damage), but this offering needs better choreography to take it beyond dour pretentiousness.
The Brink, Judith Wright Centre
Last night and tonight
Reviewed: February 2
If we go by his name, SKYE GELLMANN seems to have been destined for flight. He speaks with ZENOBIA FROST about his new circus work, MOTHLIGHT.
Enter the land of the moths: a “dimly-lit space carved out by the stretched strands of a spiderweb,” says Gellmann, in which both performers and audience can get caught. The show was first inspired by “the symbolism of moths and their relationship with light;” I imagine acrobats drifting and fluttering around a swinging light bulb. But Gellmann explains that this source idea has been “extruded, twisted, abstracted, burnt, resurrected, tangled in cling wrap, rearranged, deranged – and evolved to the point where we are no longer dealing with a show about moths and their features, but a creative exploration of the body.”
What Gellmann and fellow performer Naomi Francis have created for Mothlight is a strange, sombre world where “pindrops cause tidal waves” – a world of “physical extremes and dangerous intimacy,” where fleeting ideas might come to rise into light or to die with dusty wings outstretched. Gellmann describes Mothlight as a “circus installation” that the audience can explore. They may not directly change the path of the story, “but their experience is forefront in discovering what this world has to offer.”
Brisbane theatre-goers might remember Skye Gellmann from last year’s production of Daniel Santangeli’s physical theatre piece Room 328. For Gellmann, promenade theatre “adds an element of danger,” which motivates him to create new work. Of course, there are risks involved “when bodies are pushed in strange trajectories around people, but it also opens new possibilities for interplay between the performer and the audience. “Still, safety was an important concern in what Gellmann describes as a “reflective and vicarious experience in an unconventional space.”
If you’ve been to the circus in Brisbane lately, you’d know that the artform is shifting away from big tops and lion tamers. Gellmann describes this new kind of circus as a “movement where people create new thoughts around what circus can be and can communicate.” In Mothlight, tricks that could be pure spectacle become tools for “perspective change, raising questions, unravelling our identities and telling stories.”
John Bailey of The Age called Gellmann’s work “at the razor’s edge” of new circus. The Melbourne-based performer has won festival awards (for both production and individual performance) every year since 2007. Mothlight sold out its 2010 season at the Melbourne Fringe Festival, and has already secured a run at the Adelaide Fringe later this year.
Gellmann describes circus with all the passion of a poet, giving us a few clues as to the success of his career: “I’m struck by the thought that you cannot actually solidly define circus. It’s like art, love or life. You can describe its features, but you can’t say what it is. Circus is elusive. You can never put your thumb on it. Once you think you have it, it bends in the opposite direction,” he says. “For me, circus is an unsolvable puzzle that will keep me free-thinking forever.”
Skye Gellmann and Naomi Francis are drawn to the MOTHLIGHT at The Judith Wright Centre from February 2 to 4. Ph: 3872 9000 /www.judithwrightcentre.com