The Agony, the Ecstasy and i
Wed, 17 Apr 2013, 08:41 amGordon the Optom2 posts in thread
The Agony, the Ecstasy and i
Wed, 17 Apr 2013, 08:41 am‘The Agony, the Ecstasy and i’ was co-created by Tarryn Runkel and Laura Hopwood, in collaboration with Cara Phillips. Sam Fox and Hellie Turner mentored it. South African Tarryn, graduated from Edith Cowan University with an honours in dancing. Laura graduated from Curtin with a Theatre and Communications degree. The small ‘i’ in the title symbolises how unimportant we all are in life.
This unusual, eye-opening show is showing at The Studio, in the Blue Room Theatre, 53 James Street, Northbridge at 8.30 pm each evening, until Saturday the 4th May.
We are led through a passageway lined with green apples, into a large, dimly lit, computer workshop. There are computers and monitors everywhere. To be more precise they are Apple computers. Green apples lie mingled with the computer debris. Many of these computers are functional, but they are redundant only because they are no longer the latest model (set design Tessa Darcey).
A young girl (Lara Hopwood) is seated on a leather settee, quietly typing on her laptop. One of the menial staff members (Tarryn Runkel) is doing an early morning session of t’ai chi, followed by a few gentle yoga stretches. The girl continues typing. The worker’s movements become more mechanical as the volume of the techno music increases. You become aware that this poor worker is now under the full control of the laptop operator, and that the strenuous routine is becoming increasingly punishing. The boss moves towards the public and selects her next workers. The automaton worker continues. Pictures and video are projected onto the black back wall.
Soon the voice of Mike Daisey (Paul David-Goddard) and Steve Jobs, founder of Apple, can be heard. Daisey tells us of the horrendous origins of various electrical pieces of equipment.
The play continues to give us an insight into the story behind the source of most electrical goods and the slavery involved.
Under the directorship of Cara Phillips and dramaturge Bill McCluskey, the performances were excellent. Tarryn executed crippling, contemporary dance routines for almost the whole hour of the play. The amazing music (Tomas Ford) and the sound effects were in perfect sync with the dancers movements, even the vicious fight sequences (guided by Andy Fraser) were most effective and still in the robotic style of movement.
The complex and most informative AVs were designed by Emma Fishwick and videoed by Fionn Mulholland. Another quality lighting design from Joe Lui.
This is a novel and powerful way of getting across an important message, and it has been carried out with a great deal of skill.
‘The Agony, the Ecstasy and i’ was co-created by Tarryn Runkel and Laura Hopwood, in collaboration with Cara Phillips. Sam Fox and Hellie Turner mentored it. South African Tarryn, graduated from Edith Cowan University with an honours in dancing. Laura graduated from Curtin with a Theatre and Communications degree. The small ‘i’ in the title symbolises how unimportant we all are in life.
This unusual, eye-opening show is showing at The Studio, in the Blue Room Theatre, 53 James Street, Northbridge at 8.30 pm each evening, until Saturday the 4th May.
We are led through a passageway lined with green apples, into a large, dimly lit, computer workshop. There are computers and monitors everywhere. To be more precise they are Apple computers. Green apples lie mingled with the computer debris. Many of these computers are functional, but they are redundant only because they are no longer the latest model (set design Tessa Darcey).
A young girl (Lara Hopwood) is seated on a leather settee, quietly typing on her laptop. One of the menial staff members (Tarryn Runkel) is doing an early morning session of t’ai chi, followed by a few gentle yoga stretches. The girl continues typing. The worker’s movements become more mechanical as the volume of the techno music increases. You become aware that this poor worker is now under the full control of the laptop operator, and that the strenuous routine is becoming increasingly punishing. The boss moves towards the public and selects her next workers. The automaton worker continues. Pictures and video are projected onto the black back wall.
Soon the voice of Mike Daisey (Paul David-Goddard) and Steve Jobs, founder of Apple, can be heard. Daisey tells us of the horrendous origins of various electrical pieces of equipment.
The play continues to give us an insight into the story behind the source of most electrical goods and the slavery involved.
Under the directorship of Cara Phillips and dramaturge Bill McCluskey, the performances were excellent. Tarryn executed crippling, contemporary dance routines for almost the whole hour of the play. The amazing music (Tomas Ford) and the sound effects were in perfect sync with the dancers movements, even the vicious fight sequences (guided by Andy Fraser) were most effective and still in the robotic style of movement.
The complex and most informative AVs were designed by Emma Fishwick and videoed by Fionn Mulholland. Another quality lighting design from Joe Lui.
This is a novel and powerful way of getting across an important message, and it has been carried out with a great deal of skill.
SPAM Reset.
Absit invidia (and DFT :nono:)
Jeff Watkins