The show with The Karavan Ensemble on Saturday went well, I loved making the work, being directed, working in a group and performing! Had lovely feedback from audience afterwards (and a mention on the Guardian blog, below), generally people seem to have really got something out of it. Great turn up as well, pretty much full house all of the 4 performances we did during the White Night.
The work is very different from my solo practice, definitely more dancey, much more theatrical, more storytelling like - although fragmented - more 'poetic' and with a visual language which i can only describe as ... don't know, a bit vintage perhaps, quite like illustrations in a book of dark fairy tales?
It was fascinating to be in someone else's creative vision, an element of their focused process - we made the piece in 5 days - five performers on stage, one outside, one musician - artistically directed by Yael Karavan. I have taken part in Yael's workshops and classes at Coachwerks in Brighton before, and done the graphic design for her company. Working together towards a performance was the first time though. Enjoyed it! Found it challenging the first few days, before i found some sort of space within the group, who are all used to working with each other since crating 'Ship of Fools' a show for the Brighton fringe 2010.
Yael's process with us often made me think of painting an image, a sort of live 3d landscape using different strokes, colours, elements and textures .. and then swatching everything around, several times, and definitely improvising a lot, grab ideas immediately, making them into elements of the show - Marion's heart-light-outfit for example...
All of the improvisations which led to the content of the show were based on a few straightforward ideas: household lamps collected from local homes in a blacked out space, and use of sound and text both recored and live.
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"Next, Karavan Ensemble took us on an anarchic journey out of town to the venue Coachwerks, inadvertently recreating the uniquely unrestrained atmosphere of a nightbus. The mood swiftly became meditative, however, when we arrived and watched an avant-garde dance in which women with the long gowns and opiated stares of Edgar Allan Poe heroines performed with a series of household lamps donated by locals and salvaged from skips – anglepoises, standard lamps, LEDs. Sometimes they cradled the lights as if they were infants; sometimes they brandished them like weapons. Dreamlike as well as surreal, it suggested the sort of obsession that strikes in the small hours."
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