Photo by Laura Williamson

This powerful piece embodies raw anger and intensity. A unique movement vocabulary depicts pure primal hostility and confronts the audience with its emotional power. Not depicting quasi-animal movements, but the embodiment of charisma, it’s essence, the physicality of non-verbal charm, the manifestation of this elusive, intense quality in bodily gesture. Unique in being almost entirely composed of “oor work,” it pushes the choreographic limits of both never standing yet, limbs extend, never sitting on the oor, but being curled and contracted. Its primitive movements have been seen as animal like, but are in fact the linear, visceral expression of intensity. The primal hostility so evident at first becomes rened and retooled into something seething, more repressed, with a sensual undertone, a beckoning to the audience, drawing them in, inviting them to look on, to come closer.

Photo by Laura Williamson

PART I “Surveillance” A quartet, investigating society’s reactions to, and perceptions of surveillance, both visual and physical. From the seemingly benign, ever-present camera to the increasingly invasive security checkpoint “pat-down”, this work questions the constant watchfulness of “big brother” and presents possible physical and emotional responses to being watched. Exploring various emotional qualities and their expression through movement, the work questions: do we react to being surveyed with fear, oblivion, panic, ight or does the surveillance transform us into exhibitionists? PART II “PANOP” This duet further develops the idea of the visual and physical invasion of our lives. Delving into theory behind the Panopticon and its psychological effects on its inmates/occupants. Where the observed is often also the observer, and the occupants will never know if they are being constantly watched, or not.

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