embrace: guilt frame, 2008
“A woman and a man, time and change.
With absolute simplicity, two performers create a living portrait that illuminates the shape and rhythms of our inner life.
Drawing together work from three continents—Japan, India and Australia—dancer/choreographer Tess de Quincey and actor Peter Snow negotiate the eight states of human emotion, as outlined in The Natyasastra —the cornerstone of artistic practice in India.
For a captivating and intensely intimate hour, two performers are literally ‘framed’ as they create a fascinating living portrait, playing out various heightened states of emotion. The production is part of De Quincey Co’s ongoing ‘embrace’ exchange between international artists, exploring eastern and western performance vocabularies. Integral to the piece is Michael Toisuta’s evocative Homage to Ligeti which takes its inspiration from Gyorgi Ligeti’s Poeme Symphonique for 100 Metronomes.” (Text courtesy of De Quincey Co.)
credits: created and performed by Tess de Quincey and Peter Snow, set design Russell Emerson, Steve Howarth, lighting design Travis Hodgson, sound design Michael Toisuta
performances: premiere Richard Wherrett Studio, Sydney Theatre, February-March 2008; La Mama Theatre, Melbourne, December, 2009
reviews/articles – realtime
within the frame: a timeless space
keith gallasch, realtime 83, february-march 2008
dynamic duets
keith gallasch, realtime 84, april-may 2008
video
preview on Wharf 2 facebook page
other
surging emotions in stylish guilt trip
jill sykes, sydney morning herald, february 29, 2008
embrace: guilt frame
alexandra savvides, vibe wire, march 3, 2008
kaleidoscope of emotions
shoba rao, daily telegraph, march 4, 2008
mesmerising, even in slow-motion
deborah jones, the australian, march 6, 2008
embrace: guilt frame, de quincey co
james waites, the australian stage, march 7, 2008
embrace: guilt frame
richard knox, arts hub, december 3, 2009
embrace: guilt frame (strange hand)
tony reck, tony reck 21c, december 4, 2009
slow-mo theatre proves riveting
martin bell, the age, december 5, 2009
