Dance Massive maps the type wilderness that makes me (think I can) pen my own manifesto.
In this work by Guerin, in which I see the film through the dancers’ own interpretations of the film they are watching—can I trust their reading/translation of the drama as it unfolds or will they double-cross me?
Seated in a purpose built grandstand in the formally exposed run-though of Chunky Move and the Australian Centre for Contemporary Art’s forecourt, I waited.
Where “Merge” thrashed and rhythmically pulsed, “Do You Speak Chinese?” proved a quiet meditation. Equally, where “Merge” hurtled through time, Chiu’s worked seemed almost to stop the tick-tock of the clock, as she rolled herself into a giant fold of paper and the small theatre filled with the sound of paper’s pleasing crackle as it creased.
Seated in my own ‘best seat,’ frankness, humility, humour, experimentation and a willingness to question link for me Kate Champion’s “Nothing to Lose,”, Rawcus’ “Catalogue” and Nat Cursio’s “Tiny Slopes” (a work in development presented in association with Malthouse Theatre).
