Item 9.13 - Attachment 3 |
Proposal from WSDA |
(In)
Visible Dancing
Project Outline
A unique concept in outdoor dance
theatre
Created by Luca Silverstrini –Protein
Dance Company
Originally commissioned by International
Dance Festival Birmingham
Project Proposal
Western Sydney Dance Action (WSDA) is a
key dance organisation, that champions innovation within the performing arts
and provides opportunities for practicing professional and emerging dance
artists and companies developing work in Western and metropolitan Sydney.
In 2010, WSDA formed a partnership with
the
(In) Visible Dancing is a new concept in
outdoor dance theatre which has been performed to much acclaim to audiences in
the
The dance intervention seemingly grows
out of everyday life, developing from what looks like ‘incidental’ strange
behaviour on the streets, through to a fully fledged dance experience that
engages with the architecture of the location. (In) Visible dancing then
becomes Visible Dancing, a finale, engaging 70+ community performers from a
diverse cross section of art form practice and skill level, placing them in a
high profile performance on the final day of this durational project.
How does the work evolve over the week?
Audience engagement.
(In) Visible dancing evolves from being
invisible to visible in two ways. The performance itself begins as a subtle
shift in activity on the street, causing bystanders and passers-by to stop and
wonder what is happening. Several physical theatre performers commence a street
theatre dialogue meanwhile several ‘buskers’ play independently a few metres
away. Neither group of artists are considered related until much further in the
performance when the audience realises that they are all part of the one act.
As the audience start to watch the
unexpected goings on, others begin to join them, creating a growing crowd and
conversations. Over the course of 30 minutes, the performance becomes a dance
intervention that is playing out, inspired by real life situations. Actions
made by the public are imitated and used as stimulus for the performers- for
example, a line of people queuing at an automatic teller, becomes a line of 20
people interacting and moving the work
takes on the street’s live architecture –offering scores of activity and
performance based on what happens in the space. As the piece develops so too
does the number of performers. Over the duration of the event, the work builds
in numbers per performance with the street scenes becoming more exaggerated and
interactive with the crowds. As the event gains momentum, dance workshops held
on the street after the daily performance, will encourage further audience
participation.
The second way the project becomes visible
is through the development of the scale of the work which by the last day, has
expanded to include both the professional and volunteer performers- cast of 90
plus performers. The work always starts the same way with just a few artists
working interactively in the space, gradually growing to incorporate up to 20
dance artists and 5 musicians throughout the first week, extending and growing
extensively by the last day of the second week, to incorporate a mass
interactive flash mob style performance piece that encompasses all of the
professional and volunteer performers along with many members of the audience.
The performers are dressed in a way that does not set them apart from everyday
life. Artistic Director Luca Silverstrini will examine the space during his
pre-production period in October and observe the community of people that
inhabit the chosen site. From office workers, students, families, council
workers, builders, young people, older people, cyclists and couriers. The
objective is to costume the artists so that they appear as though they are
commuting through the space and not part of any performance event.
The music for (In) Visible dancing works
best when the music is seemingly incidental to the performance at the beginning
of each show. Musicians first appear as though they are busking and gradually
shift to a different performance mode as the work progresses. Musical
accompaniment grows from several single players (the rhythm section) to a small
to medium ensemble of brass, string and percussion players. The score will grow
in sound and instrumentation as the ensemble increases over the week-with one
key musical theme and arrangement driving the work.
Projected crowd numbers are estimated at over 15 000 -total number of spectators for the 10 day duration of the event.