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Doppelganger

Synopsis

Doppelganger is a new work by Garry Stewart and Australian Dance Theatre, originally created for inclusion in the Versus Rodin: bodies across space and time exhibition at the Art Gallery of South Australia in 2017.

In Doppelganger, Garry Stewart sets out to parody and reframe the notion of the doppelganger, by annulling the suggestions of horror and foreboding and instead playfully representing this mythical character as delightfully camp, impish and ironically uncanny.

“Doppelganger” is a German word that is most generally associated with 19th century Gothic and Romantic literature, where a protagonist is haunted by a mysterious character who eerily appears as their identical twin. This doppelganger twin is traditionally the harbinger of ill fate or doom, and signals a sense of foreboding, danger, misfortune and the possibility of impending death. There exists a quasi-horror at the idea of the doppelganger, as the protagonist contemplates with great anxiety the appearance of another ‘self’ lurking in the shadows.

The doppelganger fragments identity and dismantles the unified sense of self – one of the central themes of the Versus Rodin exhibition – and gives rise to the connotations of multiple personalities and fluid gender. Traditionally, the doppelganger character was usually male and, at times, hinted of an underlying homoeroticism and latent sexuality.

In ADT’s Doppelganger, 5 dancers wear custom-made masks that are printed with the face of ADT dancer Matte Roffe, whom they shadow and interact with in an evocation of this historical mythical figure.

DOPPELGANGER 

Versus Rodin: bodies in space and time
2 March – 17 June 2017 

Art Gallery of South Australia – Gallery 23B 
Free with your Versus Rodin ticket

Click here for more info and to book.

 



Be Your Self

Synopsis

Garry Stewart’s Be Your Self reveals the precarious stability of the concept of self as the work steps through the conventions we use to construct a singular and consistent notion of ‘I’. In an analysis of selfhood, Stewart situates the body at the centre of his inquiry. In Be Your Self the Australian Dance Theatre dancers are transformed into erupting, powerful, creative entities projecting a plethora of physical images and impressions set to an unpredictable, cartoonish, electronic score.

The staging for the Be Your Self was designed by the New York architectural firm Diller, Scofidio + Renfro (MacArthur Foundation ‘Genius Award’ recipients). For more of their work visit their website: http://www.dsrny.com 

 

BE YOUR SELF

Melbourne season 2017

Returning to Melbourne for the first time since 2013, don’t miss the chance to experience the invigorating physical power of Australian Dance Theatre’s Be Your Self.

Wednesday 2 – Saturday 5 August 5

The Sumner, Southbank Theatre Melbourne

Click here to book tickets or call 03 8688 0800

BE YOUR SELF (redux)

National Tour 2017

A distilled version of the original Be Your Self, Be Your Self Redux fuses Stewart’s audacious choreography with spoken word to create an exciting dance work that leaves audiences questioning the underpinnings of who they are.

Townsville Civic Theatre – Townsville (QLD) / Tuesday 15 August / for more info and to book – click here

Northern Rivers Performing Arts (NORPA) – Lismore (NSW) / Friday 18 – Saturday 19 August / for more info and to book – click here

Empire Theatre – Toowoomba (QLD) / 24 August / for more info and to book – click here

Riverside Theatres – Parramatta (NSW) / 2 September / for more info and to book – click here

Frankston Arts Centre – Frankston (VIC) / 8 September / for more info and to book – click here

Mildura Arts Centre – Mildura (VIC) / 12 September / for more info and to book – click here

Supporters

Be Your Self has been co-produced by Grand Theatre de la Ville de Luxembourg, La Rose des Vents Villeneuve d’Ascq, Le Rive Gauche Centre Culturel de Saint-Etienne-du-Rouvray, Centro Cultural Vila Flor and Arts SA’s Major Commission Fund.

 

Technical Specifications

Running time 75 minutes (no interval)
Touring party of 20 10 dancers, 1 actor & 9 staff (Technical Director & Tour Manager, Company Manager, Stage Manager, Head Sound & Vision, Head Electrician, Head Staging, Rehearsal Director, Artistic Director, Technical Translator* (*Europe & Asia only)
Freight 1x 20ft sea container
Bump-in Two days (opening second night)
Stage space Sprung wooden dance floor, minimum stage area 12m wide x 12.5m deep, plus 3m wing space each side
Warnings Partial female nudity, strobe lighting and theatrical haze effects.
Other Actor’s spoken text is delivered in English. Technical specifications and stage plans available on request.



The Beginning of Nature

Synopsis

The Beginning of Nature (Part One) is a dance and music performance based upon the idea of rhythms in nature.  Humans – and all living forms – exist within a phenomenally complex symphony of overlapping rhythms that constitute the very fabric of nature and life itself.  These rhythms are manifested in day and night, the seasons, tidal patterns, migration, hibernation, sleep and waking, weather patterns, the binary of growth and decay and the various systems of the body.

The music was composed by Brendan Woithe who has created the sound for many of ADT’s internationally renowned touring works. For The Beginning of Nature, ADT and Brendan worked in collaboration with the Zephyr Quartet, a celebrated South Australian music ensemble. The performance also features special guest vocalists Shauntai Batzke and Vonda Last.

The score of The Beginning of Nature incorporates aspects of the Kaurna language. Kaurna is the local language of the first peoples of the Adelaide plains. The Kaurna language is the cultural property of the Kaurna people. During the creation of this work ADT consulted with Kaurna Elder Uncle Lewis O’Brien, respected Adelaide-based Indigenous artist and consultant, Lee-Ann Buckskin, and Jack Buckskin, a Kaurna language teacher and dancer, to develop the language component of this project. Garry Stewart is also in discussion with Professor Ghil’ad Zuckerman, Chair of Linguistics and Endangered Languages at the University of Adelaide and a leading world expert in language revival.



Objekt

Synopsis

In his first work on a German ensemble, Garry Stewart undertook residency in Europe to create his latest work Objekt.

 The work was created in collaboration with Germany’s tanzmainz – the contemporary dance company of Staatstheater Mainz, lead by its Director Honne Dohrmann.

Exploring the objectification of humans and how this allows one group to measure, corral, and subjugate another, Objekt is symbolic of today’s socio-political reality.

The work is an amplification of the fundamental condition of humans, who are oriented toward touch, and the manipulation of objects in space and time. We do not exist in a vacuum, but in a universe where we negotiate other physical entities that we relate to through our physiology, perceptions and emotions.

Like objects, human bodies possess qualities such as mass, geometry, space, volume, inertness, and receptivity to forces (such as gravity and propulsion). Unlike objects, humans are constituted out of consciousness, will, desires, cognition, emotions and subjectivity.

Through viewing someone else as ‘the other’ we cease to recognize their humanity and instead our behaviour toward them is similar to our treatment of objects.

 



Habitus

Synopsis

In Garry Stewart’s Habitus he explores the relationship between humans, our domestic world and the topographies of nature.

In this fascinating work dancers from Australian Dance Theatre reframe the logic of our engagement with domestic objects – books, ironing boards, sofas and other household paraphernalia – iconic emblems of domestic living that we rarely consider outside of their conventional function. Stewart uses dance as a system with which to situate bodies in a surrealistic, counter-logical and counter-utili­tarian relationship to these objects. Through placing them within ‘dance’ he playfully liberates the audience’s understanding of these objects and of ourselves.

What is the final destination for all of this ‘stuff’, this manufactured detritus that we have heaped onto the world? Will nature inevitably reclaim it unto itself?

In the final part of the work the dancers depict our return to our instinctive, animal selves inevitably superseding the fading structures of postmodern humanity.



Multiverse

Synopsis

In his role as Thinker in Residence at Deakin University Motion.Lab in 2012/2013, Garry Stewart has created Multiverse, a new type of audience experience where visually stunning 3D graphics share the stage with three dancers.

Based on ideas from theoretical physics, Multiverse creates extraordinary images that delve into notions such as string theory, parallel dimensions, multiple universes and black holes: ideas that are at the centre of current thinking into how we understand the universe.

Multiverse is one of the first 3D performances to be created by an Australian dance company. Viewed through 3D glasses, Multiverse is an extraordinary new work that combines the power of live dance with the wonder of 3D graphics from one of the great innovators of Australian dance.

Supporters

Multiverse is co-commissioned by La Rose des Vents, Villeneuve d’Ascq (France), Theater im Pfalzbau, Ludwigshafen (Germany) and Théâtre National de Chaillot, Paris (France) and has been made possible through the support of Deakin University’s Thinker in Residency programme, Deakin University’s Motion.Lab and the Australian Research Council’s Discovery Projects funding scheme (project number DP120101695). Australian Dance Theatre is supported by the Government of South Australia through Arts SA and is assisted by the Australian Government through the Australia Council, its art funding and advisory body.

 



Proximity

Synopsis

In Proximity Garry Stewart and Paris-based video engineer Thomas Pachoud (with the support of didascalie.net) worked in collaboration to create a dialogue for dance and real-time video manipulation. The work is primarily an investigation into the body’s interactive participation in the act seeing the world with reference to neurological body maps and the French philosopher Merleau Ponty’s phenomenology of perception.

AWARDS

2014 Green Room Awards:
Best Visual Design – Proximity (Thomas Pauchard (Video & Video Engineering), Mark Pennington (Lighting Design) & Geoff Cobham (Design Consultant))
Best Performance by a Dance Ensemble – Proximity

2013 Australian Dance Awards: 
Outstanding Performance by a Male Dancer – Kimball Wong for Proximity

 

Supporters

Proximity has been co-produced by Grand Théâtre de la Ville de Luxembourg, Le Rive Gauche Centre Culturel de Saint-Etienne-du-Rouvray, and Arts SA’s Major Commission fund.

Technical Specifications

Running time 70 minutes (no interval)
Touring party of 18 9 dancers & 9 staff (Technical Director & Tour Manager, Company Manager, Stage Manager, Head Sound & Vision, Head Electrician, Head Staging, Rehearsal Director, Artistic Director, Technical Translator* (*Europe and Asia only)
Freight 1 x 20ft sea container
Bump-in Two days (opening performance second night)
Stage space Sprung wooden dance floor, minimum stage area 12m wide x 12.5m deep, plus 3m wing space each side
Warnings Strobe lighting effects
Other Embroidered text on costumes is written in English. Technical specifications & stage plans available on request.



Mood Machine

Synopsis

Mood Machine is 10 – 12 minute animated film directed by Artistic Director of Australian Dance Theatre Garry Stewart.

If we took the total emotional range over a human lifespan and compacted it into a few minutes what might this look like? In Mood Machine this is represented as a dazzlingly baroque explosion of imagery.

The film explores the choreographic possibilities of the habituated gestures and facial expressions that constitute human emotions. The physicality of human emotions are universal and can be read from one cultural group to another. The way in which emotions are expressed by the body is a type of dance if we think of ‘dance’ as being underpinned by kinetics and rhythmic patterns of the body.

Mood Machine was created in collaboration with cinematographer and post-production editor Brenton Kempster (Zulumu) who has also worked with Australian Dance Theatre on past productions Be Your Self and Held.

The soundscore, which will be realized by a long term Sydney based collaborator Brendan Woithe (KLANG) is an atmospheric electronic score which will also employs digitally altered samples of the sounds associated with human emotions such as sobbing, laughter, sighing, breathing, the heartbeat etc.

Mood Machine premiered at the 2015 Adelaide Film Festival as part of the Made in SA Program.

Visit the Zulumu website here | Visit the KLANG website here

 



Collision Course

Synopsis

Collision Course is a project conceived, choreographed and co-directed by Garry Stewart and produced and co-directed by Carmelo Musca. It involves a series of bodies colliding in mid-air captured in extreme slow motion at 1500 frames per second. Collision Course includes a cast of over 100 sportspeople and dancers trained in various different physical disciplines: martial artists, rugby players, gymnasts, athletes, wrestlers, capoeira dancers, breakers (breakdance), boxers, jive dances, contemporary dancers and many others.

Collision Course is screened in art galleries as well as on the outside of public buildings.

Running time: 33 minutes (48 sequential collisions).

 

Upcoming Screenings

Experimenta Recharge National Tour

The last outing of the Experimenta Recharge National Tour is being presented at the Samstag Museum from this Friday – 23 September.

Experimenta Recharge features the works of artists who employ, critique and experiment with media and technology.

When: 19 August – 23 September

Where: Anne & Gordon Samstag Museum of Art, 55 North Terrace, Adelaide

Opening Hours: Tues to Fri 11 am – 5pm, Sat 2 – 5pm and late on Thurs for ART AFTER DARK events. Closed public holidays and during exhibition changeovers.

Cost: Free admission, all welcome

For more info and the full programclick here.

 

East End Moving Image Program

The East End Moving Image Program is an initiative of the Adelaide City Council to forge deeper relationships with the arts community by commissioning moving image artists to create new artwork to activate the city at night, delighting unsuspecting audiences and contributing to the evening economy.

Collision Course is being screened on Rundle Street (on Target wall, across from UPark) nightly from 18 August – 15 September from 6 pm – 3am.

For more info on the East End Moving Image Program and all the other after dark events happening in Adelaide –click here. 

Supporters

Funded by the Department of Culture & The Arts (Government of Western Australia).

Technical Specifications

Running time 33 minutes
Format Blu-ray disc
Full HD playback 1920×1080 resolution
Soundtrack 5.1 surround
Projector required DLP, 1920×1080 resolution, minimum 15,000 lumens brightness & 5,000:1 contrast ratio

Gallery (indoor) installation
Minimum image size 4m x 2.25m (bottom of image minimum of 750mm from floor)
Minimum gallery space 6m x 8m x 3.4m (6m wall is the projection surface)

Building (outdoor) installation
Minimum image size 12m wide x 6.75m high

Full technical specifications available on request & must be adhered to for all screenings. Variations to these specifications must be approved by ADT & CM Films.



G

Synopsis

In 2000 Garry Stewart premiered Birdbrain – an ironic, post modern deconstruction of Swan Lake. In 2008 Garry Stewart continued his project of referencing iconic ballet with the debut of G, a reworking of Giselle. Dramaturgically, G refers to an essay titled ‘Giselle, Madness and Death’ by Steven Wainwright of Kings College London which links the narrative of Giselle to the pathologisation of women as hysterics in early 19th century France.

The musical score to G was created by Luke Smiles (Motion Laboratories), one of the luminaries of music composition for the new wave of Australian contemporary dance.

Supporters

G was co-commissioned by The Joyce Theater’s Stephen and Cathy Weinroth Fund for New Work (New York), Southbank Centre (London) and Merrigong Theatre Co. at Illawarra Performing Arts Centre (Wollongong). G was co-produced by Theatre de la Ville (Paris).

The 2013 Australian tour of G was supported by the Australian Government’s national performing arts touring program, Playing Australia.

 

Technical Specifications

Running time 60 minutes
Touring party of 20 12 dancers & 8 staff (Technical Director & Tour Manager, Company Manager, Stage Manager, Head Sound & Vision, Head Electrician, Rehearsal Director, Artistic Director, Technical Translator* (*Europe & Asia only)
Freight 1000kg airfreight or 1 x 20ft sea container
Load in Two days (opening performance second night)
Stage space Sprung wooden dance floor covered in black tarkett, minimum stage area 10m wide x 13m deep plus 3m wing space each side
Warnings Partial female nudity
Other The LED Screen text is available in English, French or Spanish. Technical specifications & stage plans available on request.