Exit no exit.

The research concerns of this work centre around the disruption of perspective and the tension between the organic and the constructed, fractional, angular and many-sided. Correspondingly, the movement, design and sound form different dimensions that variously overlap, outflank or upstage each other, producing a kind of composite view of the stage. In opposition to this, the piece also explores more organic, natural forms and at times the stage is presented as an inhabited place with a table, a chair and imaginary doors. It moves between sounds and sights that are angular, divided and synthetic, and those that are more curved, integrated and organic. The movement vocabulary also presents these oppositions with the contemporary and idiosyncratic in dynamic exchange with more formal, classical features, and the interplay of curved versus angular forms.The disruption to perspective also occurs through time and the work explores a notion of restlessness as a core feature – this is designed to destabilise any single, fixed view held by the spectator addressing the reality of mobility and fluidity that features in contemporary lives.
Collaborators: Music - Michael Nyman; Stage lighting - Lucy Carter; Film - Nichola Bruce.