Recovery

I’m in Melbourne at the moment working on a short research, development and testing stage for a project called Recovery. You can follow various parts of the work here: http://recovery.posterous.com.

I hope your work in Auckland etc is going well.

Best

ske

Intersection

Intersection is a cinematic sketch derived from a site-specific performance held  at the corner of Queen St and Karangahape Rd, July 2010 Auckland, New Zealand.  Click on the image for more info or visit www.celinesumiclumen.wordpress.com

Play /Ground in progress

Play /Ground is a work in progress evolved from a score devised by Celine Sumic. As part of an academic investigation of choreographic methods, Play /Ground explores a cumulative mis-appropriation of number theory and lost socks.

Click on image above to access video.  More info on choreog process on my blog http://desensu.wordpress.com/2010/05/31/play-ground/

Types of theatre experiences …

Here’s Jana Perkovic on types of performance experiences:

http://guerrillasemiotics.com/2010/05/query-what-kinds-of-theatre-experiences-have-you-had/

Urban Devas

http://www.everydaylistening.com/articles/2010/5/13/urban-devas.html

Scores

What is a score for choreography? A score is a way of mapping one thing onto another. In dance a score can be a list of words, a set of numbers or algorithms, a series of geometries, a pattern of images, a topographical map etc. A score is taken hold of and embodied through a series of actions by the performers. A choreographer is responsible for prescribing the course of these actions. They should consider type of action, duration, location and performer. A score in this sense is a cartographic tool for choreographic objects. The underscore is what lies beneath the score as the embedded trace of the score.

Sonic Body

http://sonicbody.co.uk/

Minus 60º

http://vimeo.com/11103174

Public Questions

Returned from Perth and a two week process with STRUT dancers towards a multi-site event Tongues of Stone. In unearthing stories emerging from the strata of performance as a revealed archaelogy of buried voices I found out about the Karrakatta Club, the first women-only club in Australia from the late 19th century.  Women met at the club to discuss public questions and to create a presence agitating for change within the civic sphere.

In moving between the site and situation of performance in the city and the studio, we moved from a state of distraction to one of attunement to the minutiae of movement thresholds.  Tracking back and forth between the underground, laneways, corporate foyers and undercrofts and riverside we accumulated gestures and material to re-inscribe these spaces with fragmented narratives that enfolded present realities with past narratives.

The Karakatta Club is now an interior without an exterior, closed off to non-members and decorated in the kind of pastel florals I associate with Bed and Breakfasts in Devon, it lacks public questions.  The right to perform in the civic sphere is subject to the controlling gaze of surveillance cameras and security systems.  Like the right to protest it is negotiated through a set of permissions.  The Perth streets, lanes and public spaces are loaded with texts, the wagging tongues of authority which prescribe behaviour ‘do not stand here’ ‘no smoking’ ‘no waiting’, ‘no loitering’.  Dancer Catherine Piue, moving through this regulated space carrying a set of leaking sacs draws attention to herself; she is extra-odinary, searching for questions to attend her stories.

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Mary Kate Connolly interviewing Raimund Hoghe

http://www.raimundhoghe.com/en/en_art_of_collage.html