Melbourne Fringe installment...the train journey

Gearing up for the train journey...I will be installed in this red rattler in various guises over the first two weeks of October

An exhibition of my screendance works and some paintings from colleague Melinda Smith will be on display Wed–Fri between October 2–11
1-4pm

The Little Con Express—a durational (5 hour) improvised performance event with guests Ann-maree Ellis, Dani Cresp, Melinda Smith, and others TBA
Saturdays, October 5 & 12
11am–4pm

Dance Interrogations—the 2013 version for train carriage
Thurs–Sat October 3–12
7pm

Fringe Bookings 

evidence from Sweden

Here's a video of the performance Mel and I did at the independent venue 'Atalante' in Gothenburg, Sweden last year.

http://vimeo.com/54192397

and here's the post-performance talk & communication device demo

http://vimeo.com/55353026

backhand

we are 'interfaced' rather than face-to-face
and we must search for our three-dimensionality
inside the pixels and portals

The body has become a storage device
with webcams for eyes
a 2 finger flipper that scrolls and clicks
riding around in bigger vehicles with smaller phones

We are in ecological denial
putting protective layers between ourselves
and the world we are dismantling

it's hard hard rubbish

gems unearthed

a review
              http://ff.moobaa.com/?p=3307

of this performance
                               http://youtu.be/2nKohrjVVUM

PhD—Plotting Her Destiny

Dance Interrogations now becomes a full-time journey for the next three years as doctoral research (thank you Deakin University).

Following on from the 2012 collection of 14 improvised 30 minute solos in Adelaide and Edinburgh, now begins an intensive interrogation of the body as a site of meaning and creative interface in dance performance.

Over three years I aim to accumulate an artwork with my audience—each individual simultaneously witnessing and creating within our performative interaction. The performance combines dance, physical theatre, voice, soundscape and video projection in unusual architectural locations that act as metaphors for the body attending to the detail of the interior, it's volume, openings, texture, acoustic, history, function. 

I am proposing an interactive art in which the sharing of physical space also shares the power, responsibility, and creative voice. By dissolving the space between performer and audience, invading their intimate and interior spaces through proximity, touch, question, implication, I seek to interrogate the way we view the dancing body and implicate our bodies as creative and communicative vessels.

My role as improvisational performer is simultaneously that of subject and witness, uncovering the artefacts of my history as I share a particular experience with an audience. I interrogate my physicality and in doing so uncover traces of emotion, vocabulary, incident, idea that have moved through my architecture. I implicate my audience in the narrative as our bodies share this 30 minutes in a particular site.

It is a three-dimensional sharing of interior spaces both physical and metaphoric

...a fleshing of the interface

Edinburgh Fringe Reviews

Just when I thought I'd danced through Scotland unnoticed...

http://www.festivaljournal.co.uk/article/dance_interrogations

http://www.threeweeks.co.uk/article/ed2012-physical-review-dance-interrogations-hip-sync-dianne-reid/

international reflections

Sitting cross-legged in Ahmedabad poised for the return to Oz
after six weeks of continent hopping
sometimes dancing, sometimes chair-pushing
connecting in hops, skips, bumps
my skin has mapped meetings in bruised intricacies
temporary tattoos with lasting deep tissue images
(Edinburgh's deltoid, Gothenburg's shins, Delhi's ribcage...)

Scotland
The solo in Edinburgh became a true interrogation
a black hole of an interview room with space for only a handful of victims
I began the season with it empty except for my body,
sometimes laying mid-floor, sometimes blurring the edges
and as the days progressed, added or subtracted chairs,
static forms—4 grouped for a card game or 1 laying askew as though a scuffle has occurred—
the interactions with audience became much more loaded and intense framed in this darkness,
(than the tunnel in Adelaide)
and yet still some trust developed over the 30 minutes
so these strangers became collaborators in my unpacking,
bits of joy jumping us in unison, pieces of longing connecting our hands and cheeks
the added final image of my ghostly self on my stripped back body helped spear the black, pierce an opening in our minds to another time, location, identity beyond that show's hundred moments


Sweden
The showing in Gothenburg at the independent space 'Atalante' was a combination of my solo dove-tailing into a duet with Melinda Smith. I began in the foyer (as my colleague Ami Skånberg Dahlstedt did her introductions in Swedish) muttering and rolling, crawling my way through their legs and into their laps before leading them into the main auditorium. The "needs cleaning" warning that came up on their projector (I had forgotten to turn it on again pre-show) had me down scrubbing the floors before the mini me projection eventually came on. My 15 mins, ending with the final ghost image, led into Mel entering the space in her wheelchair (while I changed costume) to shift the landscape before I re-entered for a further 15 mins improvised trio (2 bodies and 1 wheelchair).

India
Returned to Darpana Academy, Ahmedabad, site of my Asialink residency six years ago and my Indian home on a few occasions since... Mel and I did a showing of our duet on Thursday 13/9 for the Darpana company and some of the students, followed by the 2 films I made with/for Mel—'A Beautiful Day' and the document of her 'Cultivate' arts access grant.

I taught five workshops at three different schools in the past week and Mel and I did a talk and performance at Apang Manav Mandal, a school/organisation for children with disabilities.

Mallika has invited me to collaborate on a project with her next year (now to raise the funds for travel...)


http://epaper.dnaindia.com/story.aspx?edorsup=Sup&queryed=1310009&querypage=1&boxid=29162214&id=14621&eddate=2012-9-11&ed_date=2012-9-11&ed_code=1310009&wintype=popup