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Programme Notes. Neither Either
Two tall steel structures dominate the stage. They are like crane gantries criss-crossing the space. They are made from silver-coloured steel slats which glisten when the light shines on them.
The front left hand pillar is taller than its partner which is in the back right hand corner of the stage and the connecting cross-beam slopes down from the front to the back. The front right hand pillar is taller than the front left hand pillar and the beam slopes down similarly to the partner pillar at the left back corner. Because the right front pillar is taller, the connecting beam from right front to left back is above the beam which connects front left to back right. The effect is of a giant three dimensional cross made from slatted steel. At times a one-dimensional cross appears, flat on the floor of the stage, lit like a shining path beneath the girders above. At the rear of the stage is a bank of lights.
Placed in a long line across the centre of the stage and reading from left to right is a series of letters. They form part of a sentence which reads ‘modate two opposing conditions of truthfulness simult’. Probably the words should read ‘accommodate two opposing conditions of truthfulness simultaneously’. The letters stand up independently and can be removed one at a time.
The dance is organised into 10 sections and the choreographer has spoken a few words about each section. Her words are reproduced below.
Section 1: The removing of the letters from the stage.
Section 2: This demonstrates opposing forces and magnetic attraction. One action has an impact on others. There is organised chaos and randomness but moments when things link together.
Section 3: A dancer stands alone in the centre of the stage but there is the sense of 2 people on the stage. The first dancer is hyperventilating. Another dancer arrives and calms the first one. Whenever she makes contact, even with her eyes, the first is calm. When the contact is broken the panic returns.
Section 4: A dancer stands alone in a corner. He is joined by another. They move without knowing why, then the purpose becomes apparent. It fits. There’s a duet between them. The 2nd dancer is always there for the 1st.
Section 5: Jung’s words are spoken but the speakers do not appear. If a problem seems to be insoluble the brain will overcome the difficulty.
Section 6: The puppet master. Standing behind them, 1 dancer manipulates 2 of the others.
Section 7: The one dimensional cross is illuminated on the floor. 2 dancers perform a duet on the shining path 2 are outside it.
Section 8: Another disembodied voice speaks of dyslexia and difficulties with reading and letters. The owner of the voice does not speak from the stage. As dancers leave they are brought back as though they are the moving letters which have escaped.
Section 9: 1 woman dances freely from the top half of her body while another dancer impedes the bottom half. She strains against the weight and tension of another body. Even though the movements of the other are beautiful they are still a force against her.
Section 10: The marking time section, with feet and movements, working against the music and the beat of the music, showing different perspectives. Eventually the rhythm of the music compels. They give in to it. They join with it and fight no more.
The Dancers
There are four dancers, two women and two men. David Ogle is tall and slender with long, loose limbs and broad shoulders. He wears a beard and has dark brown short hair. He was described by the choreographer as dangerously tall and he towers above all the other dancers.
Phillip Connaughton is of medium height, considerably shorter than David and only slightly taller than the women. He is slim and slight with well-proportioned shoulders. He also wears a beard and has dark brown hair. The men wear dark trousers and navy shirts, one short-sleeved, one long, with decorative piping in a lighter blue.
Katherine O’Malley is dainty and petite with short dark hair and regular features. Vasiliki Stasinaki is also slight and slim with medium length streaked blonde hair and delicate features. The women wear knee length navy blue ‘A’ line skirts with pale blue piping and pastel coloured jumpers tucked into the skirts at the waist.
The show starts at 8 p.m. in Enniskillen, Armagh and Lisburn. Please arrive 20 minutes before the show to receive your headset and check that it is working.
Two tall steel structures dominate the stage. They are like crane gantries criss-crossing the space. They are made from silver-coloured steel slats which glisten when the light shines on them.
The front left hand pillar is taller than its partner which is in the back right hand corner of the stage and the connecting cross-beam slopes down from the front to the back. The front right hand pillar is taller than the front left hand pillar and the beam slopes down similarly to the partner pillar at the left back corner. Because the right front pillar is taller, the connecting beam from right front to left back is above the beam which connects front left to back right. The effect is of a giant three dimensional cross made from slatted steel. At times a one-dimensional cross appears, flat on the floor of the stage, lit like a shining path beneath the girders above. At the rear of the stage is a bank of lights.
Placed in a long line across the centre of the stage and reading from left to right is a series of letters. They form part of a sentence which reads ‘modate two opposing conditions of truthfulness simult’. Probably the words should read ‘accommodate two opposing conditions of truthfulness simultaneously’. The letters stand up independently and can be removed one at a time.
The dance is organised into 10 sections and the choreographer has spoken a few words about each section. Her words are reproduced below.
Section 1: The removing of the letters from the stage.
Section 2: This demonstrates opposing forces and magnetic attraction. One action has an impact on others. There is organised chaos and randomness but moments when things link together.
Section 3: A dancer stands alone in the centre of the stage but there is the sense of 2 people on the stage. The first dancer is hyperventilating. Another dancer arrives and calms the first one. Whenever she makes contact, even with her eyes, the first is calm. When the contact is broken the panic returns.
Section 4: A dancer stands alone in a corner. He is joined by another. They move without knowing why, then the purpose becomes apparent. It fits. There’s a duet between them. The 2nd dancer is always there for the 1st.
Section 5: Jung’s words are spoken but the speakers do not appear. If a problem seems to be insoluble the brain will overcome the difficulty.
Section 6: The puppet master. Standing behind them, 1 dancer manipulates 2 of the others.
Section 7: The one dimensional cross is illuminated on the floor. 2 dancers perform a duet on the shining path 2 are outside it.
Section 8: Another disembodied voice speaks of dyslexia and difficulties with reading and letters. The owner of the voice does not speak from the stage. As dancers leave they are brought back as though they are the moving letters which have escaped.
Section 9: 1 woman dances freely from the top half of her body while another dancer impedes the bottom half. She strains against the weight and tension of another body. Even though the movements of the other are beautiful they are still a force against her.
Section 10: The marking time section, with feet and movements, working against the music and the beat of the music, showing different perspectives. Eventually the rhythm of the music compels. They give in to it. They join with it and fight no more.
The Dancers
There are four dancers, two women and two men. David Ogle is tall and slender with long, loose limbs and broad shoulders. He wears a beard and has dark brown short hair. He was described by the choreographer as dangerously tall and he towers above all the other dancers.
Phillip Connaughton is of medium height, considerably shorter than David and only slightly taller than the women. He is slim and slight with well-proportioned shoulders. He also wears a beard and has dark brown hair. The men wear dark trousers and navy shirts, one short-sleeved, one long, with decorative piping in a lighter blue.
Katherine O’Malley is dainty and petite with short dark hair and regular features. Vasiliki Stasinaki is also slight and slim with medium length streaked blonde hair and delicate features. The women wear knee length navy blue ‘A’ line skirts with pale blue piping and pastel coloured jumpers tucked into the skirts at the waist.
The show starts at 8 p.m. in Enniskillen, Armagh and Lisburn. Please arrive 20 minutes before the show to receive your headset and check that it is working.
