Last week we had the honour of performing Hanna and Ike at the LAST EVER Shunt lounge at London Bridge. Hanna and Ike is the play we wrote for the Napoli Teatro Festival last summer. Although it was originally designed for a large open space, it worked out even better at Shunt than we'd hoped; although a bit of the scale of the piece was lost, I think confining the image more meant the comedy of the reveals came across clearer.
There's a video coming of the Nasreen Mohamedi performance. One of these films was filmed at a gallery in the afternoon, the other was filmed at a nightclub at midnight. See if you can guess which is which...
lundi 16 novembre 2009
mardi 10 novembre 2009
Nasreen Mohamedi
Dancing Brick have been invited to do an installation performance at the Milton Keynes Gallery this weekend, in response to the works by artist Nasreen Mohamedi in the exhibition
Nasreen Mohamedi: Notes
"Reflections on Indian Modernism"
Indian artist Nasreen Mohamedi produced a highly personalised language through drawings, photographs and diaries from the 1950s to the 1980s. The works Dancing Brick will focus on in the perfromance are what some consider her classic works, from the 1970s and 1980s: small scale geometric drawings, devised around the grid. These works, drawings so intricate and technical they remind us of an architect's blueprints correspond to the utopian planning of Milton Keyens and are strong emblems of modernist art and design. The drawings are highly technical but delicate, evocative at once of complex musical scores and intricate stitchwork and soft textile weaving.
For our performance we have also drawn our inspiration from Michelangelo Antonioni's 1962 film L'Eclisse, which tells the story of a man and a woman who attempt to fall in love in the estranged utopian landscape of the artificial urban space of the Eur, on the outskirts of Rome in the 1960s. We feel that the visual themes and the strong architecural elements used in the film are very present in Mohamedi's wrok, where the human presence is felt like a shadow, a whisper fading into the depths of the blueprint-like drawings.
mardi 15 septembre 2009
Next week
Come and see us back at CPT by popular demand. 21:13 is on tuesday-sunday at 8:00pm. Last time we sold out the CPT so maybe book early to avoid disappointment. Full (UK) tour dates are:
22nd-27th September: Camden People's Theatre, London
30th September-11th October: Tobacco Factory, Bristol
14th-16th October: South Hill Park, Canterbury
19th-21st October: Artsreach Dorset
22nd-24th October: Madcap Performing Arts Centre, Milton Keynes
22nd-27th September: Camden People's Theatre, London
30th September-11th October: Tobacco Factory, Bristol
14th-16th October: South Hill Park, Canterbury
19th-21st October: Artsreach Dorset
22nd-24th October: Madcap Performing Arts Centre, Milton Keynes
Getting ready to go on tour...
We're re-re-rehearsing 21:13 in preparation for packing it all up and going on our first tour...
mercredi 2 septembre 2009
Awards
Great news from the fringe is that 6.0: How Heap and Pebble took on the World and Won was
Nominated and Shortlisted for the Total Theatre Award for an Emerging Company
and
Won the Arches Brick Award.
As part of the latter the prize is a thousand pounds and a run at the prestigious Arches Theatre in Glasgow. Better than that, the trophy is an actual brick.
Valentina collected the prize (while Thomas and Panda were busy not winning Total Theatre) at the assembly rooms at a big ceremony, where Joyce Macmillan made the big Dancing-Brick-win-the-Brick joke. It brought the house down.
Both of those things have put a lovely gloss on a great festival for us. Can't wait to do the show again.
http://www.thearches.co.uk/theatre.htm
http://www.britishtheatreguide.info/news/archesbrick09.htm
Nominated and Shortlisted for the Total Theatre Award for an Emerging Company
and
Won the Arches Brick Award.
As part of the latter the prize is a thousand pounds and a run at the prestigious Arches Theatre in Glasgow. Better than that, the trophy is an actual brick.
Valentina collected the prize (while Thomas and Panda were busy not winning Total Theatre) at the assembly rooms at a big ceremony, where Joyce Macmillan made the big Dancing-Brick-win-the-Brick joke. It brought the house down.
Both of those things have put a lovely gloss on a great festival for us. Can't wait to do the show again.
http://www.thearches.co.uk/theatre.htm
http://www.britishtheatreguide.info/news/archesbrick09.htm
Guardian review
We had a review from Lyn Gardner today. It was really positive and encouraging - plus just good to be in a Big Paper - but can't help feeling frustrated at being a 'lovely little show'. When will we be an epic, generation-defining, spectacular?
http://www.guardian.co.uk/culture/2009/aug/23/heap-and-pebble-theatre-review
http://www.guardian.co.uk/culture/2009/aug/23/heap-and-pebble-theatre-review
5 Star Fringe Review Review
The world is warming up. Two ice dancers are forced to perform on a wooden floor: They are Heap and Pebble. Eccentric and endearing, they have a beautiful on stage chemistry that makes them totally watchable. This also easily allows them to perform some scenes in silence for minutes on end. They manage a light, quirky tone with an underlying dread at the reality of their situation.
The two actors and writers Thomas Eccleshare (Heap) and Valentina Ceschi (Pebble) are lovely. Handsome Heap does all the talking and the shy and beautiful Pebble the smiling. They present themselves to the audience in surreal bursts of enthusiasm and quiet grace; the timing of their delivery and the way they have structured the oddly connecting scenes: Silent, observational ones and scenes when they address the audience are held together by their lovable demeanour. The audience are drawn into the character's plight because the threat is ours as well - and we aren't passive observers - the fourth wall is broken several times and audience members invited on stage.
This is certainly a devised production and very much to its credit. It is an excellent example of unconventionally structured storytelling. It wouldn't work on paper, not only because there is so little dialogue but because it is about physical mood and style that couldn't be conveyed in a text. It doesn't rely on any theatrical conventions, in fact it throws them out and starts afresh. It even makes text based theatre look archaic and dull in comparison.
Its structure is based on the juxtaposition of a mega and a micro-theme: Global Warming and the desperate need of two people. it starts off with the audience laughing at two clownish characters, and if this had continued it would have stayed as rather odd, physical slapstick theatre, and we wouldn't have taken the message (of global warming) seriously. What raises it above other shows of its nature is its clarity in defining a threat so abstractedly.
Increasing throughout, the threatening sense of a melting world is conveyed through poignant mime scenes and wonderful sound effects. One, for example, is an image of plastic chairs sinking to the bottom of the sea performed with the actor's backs turned to us which alludes to their, and our, drowning and therefore our extinction because of rising sea levels. Radio addresses of them on the ice are merged with news of the melting ice. They desperately try to be positive about their plight but the reality is ever present.
This gets five stars because of its innovation in style, it strikes just the right note between humour and pathos. This is a highly original and offbeat way to warn us, through art, of the reality of global warming. It hails to the power of theatre as a message carrier, and deserves all the praise it gets.
The two actors and writers Thomas Eccleshare (Heap) and Valentina Ceschi (Pebble) are lovely. Handsome Heap does all the talking and the shy and beautiful Pebble the smiling. They present themselves to the audience in surreal bursts of enthusiasm and quiet grace; the timing of their delivery and the way they have structured the oddly connecting scenes: Silent, observational ones and scenes when they address the audience are held together by their lovable demeanour. The audience are drawn into the character's plight because the threat is ours as well - and we aren't passive observers - the fourth wall is broken several times and audience members invited on stage.
This is certainly a devised production and very much to its credit. It is an excellent example of unconventionally structured storytelling. It wouldn't work on paper, not only because there is so little dialogue but because it is about physical mood and style that couldn't be conveyed in a text. It doesn't rely on any theatrical conventions, in fact it throws them out and starts afresh. It even makes text based theatre look archaic and dull in comparison.
Its structure is based on the juxtaposition of a mega and a micro-theme: Global Warming and the desperate need of two people. it starts off with the audience laughing at two clownish characters, and if this had continued it would have stayed as rather odd, physical slapstick theatre, and we wouldn't have taken the message (of global warming) seriously. What raises it above other shows of its nature is its clarity in defining a threat so abstractedly.
Increasing throughout, the threatening sense of a melting world is conveyed through poignant mime scenes and wonderful sound effects. One, for example, is an image of plastic chairs sinking to the bottom of the sea performed with the actor's backs turned to us which alludes to their, and our, drowning and therefore our extinction because of rising sea levels. Radio addresses of them on the ice are merged with news of the melting ice. They desperately try to be positive about their plight but the reality is ever present.
This gets five stars because of its innovation in style, it strikes just the right note between humour and pathos. This is a highly original and offbeat way to warn us, through art, of the reality of global warming. It hails to the power of theatre as a message carrier, and deserves all the praise it gets.
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