Date: Thursday 18th and Friday 19th October
Time: 7pm to Midnight, performances start at 7.30pm
Location: 1 Cathedral Street, Bankside, London SE1 9DE
FREE TICKET EVENT
With DJ Dr Frisch and MC Genevieve K. throughout the evening
Two nights of non-stop live spectacle, performances, music, pink rabbits, and rock n' roll!
Naïve Dance Masterclass by Inconvenient Spoof
An exploration of self-consciousness, directed with a deadpan face and physical tomfoolery, the Naïve Dance Masterclass is a withering spoof. Tried and tested as a 25 minute short in various venues and festivals, such as the Shunt Lounge, Whitstable Biennale and the LIFT festival. It's now been re-developed into a 50 minute show. Naïve Dance Masterclass is a new collaboration by Silvia Mercuriali and Matt Rudkin that combines their considerable previous experience in Live Art, Street theatre, Puppetry and dance to create work that is provocative, intelligent and entertaining with a broad, inclusive appeal. Inconvenient Spoof actively seeks to blur distinctions between art and entertainment and make work that forms the basis for a good night out. Their devising process is equally informed by text, improvisation, imagery and research to produce mixed-media performance with a rich vein of humour.
An electrical fault during a gala performance leads a renowned dancer to the shocking realization that his effortless brilliance simply leads spectators to more deeply comprehend their own inadequacies. This insight prompts a dramatic change of career path into the civil service, and the search for a quasi-religious dance practice that transcends egoistic desires through the active pursuit of humiliating experiences. A chance encounter with an immigrant hula-hoopist leads to a romantic entanglement that is to test to the limit the cathartic power of his new dance practice.
Rachel Blackman, Stillpoint Theatre
Triptych – works traversing unique journeys through that most basic of
human predicaments: The struggle to love.
The Art of Catastrophe is a solo performance about a woman’s discovery that everything she thought was important, suddenly no longer is, with vibrantly rendered characters and intimate physical language. The Art Of Catastrophe is loosely inspired by the themes in Roland Barthes’ ‘A Lover’s Discourse’ and digs its fingers into the uncomfortable territory between romantic love and self delusional disaster.
Helen has a marriage that is falling apart and too much time on her hands. She has an inconsequential job in a very tall building and no real friends. Until now she’s managed to contain her loneliness using the banal architecture of domestic life and the endless routine of small addictions, but chaos is creeping in: Her dreams are crowded with bursting damns and avalanches and most worryingly of all, her husband, Gary is singing in the shower…
Co-created by performer Rachel Blackman and director Emma Roberts, this piece was developed through the Nightingale Theatre scratch development program and premiered to critical acclaim at the Brighton Fringe Festival in 2008.‘A performance so open and honest that it leaves a lump in the throat. A beautiful all round piece of theatre by a genuine, skilled performer, deviser and writer.’
Three Weeks *****
‘Powerful, highly compelling compelling and genuinely funny’
Oxford Daily Info ****
‘Real theatrical beauty. Blackman’s ability to fluctuate between stillness and movement, comedy and tragedy and self and other, generates an overwhelming sense of a full and rich world and context, inhabited not just by one performer, but by people possessions, colours and life’
Fringe Review ****
The Growing Room is Stillpoints newest piece of solo performance. It was developed with the Brighton Festival and The Nightingale Theatre and with support from Arts Council England and The Brighton and Hove City Council.
Andrea strives to transcend her limitations in order to make something grow, but everything around her seems hell-bent on self destruction: If it’s not her daughter, Carla, behaving like there’s no tomorrow, then it's the economy, rival cultures, global weather systems, in fact, the entire planet seems intent on killing itself. How can she possibly look on the bright side? At least she doesn’t have a relationship to worry about. Men are more trouble than they’re worth and she’s pretty sure Nick is no exception…
The Growing Room is a love letter to humanity’s ability to keep hoping even when the odds aren’t great. A darkly funny, poetic and poignant piece about how love never comes in quite the shape you ordered.
Inspired by Brian Eno’s Reason’s for Optimism symposium in the Brighton Festival 2010.
Created and performed by Rachel Blackman with dramaturgy and direction by Emma Kilbey, mentorship from the unbeatable Wendy Houstoun and beautiful lights by Geoff Hense, The Growing Room previewed at the Brighton Festival in the Pavilion theatre on the 25th of May 2011 to a sold out house and positive critical responses.
My Polar Disorder by Anna Frisch with Laura Bradshaw, Chris Teckkam and Yinka Oyewole.
Music composed and performed by Chris Teckkam and Toby Jenkins
This performance was about simulation, between what is real and imagined, and how we relate to it. Central to the performance was a pole dancing Mickey Mouse, a mouse which isn’t really a mouse, as well as being genderless.
‘My Polar Disorder’ was a take on our culture of simulation. It’s a short lived tour de force, - comically sleezy, and mildly disturbing, it will rock your socks off.
Hocus Pocus (bite size)
Written by Anna Frisch and performed by Serena Bobowski
Lucille's reality dances on the playground of her mind. Layers upon layers, somewhat at war with the consecutive order of time, and shared reality. She will share it with you, all of it, because she knows, it will make it more real.
The Jerico Orchestra is a collective exploring the relationship between improvised music and visual art. The ensemble use abstract and psychedelic projections which function as an alternative musical score to trigger new possibilities in structuring collective improvisation. Visually reminiscent of classic UFO lightshows by such artists as Mark Boyle and Gustav Metzger, the performances suggest a meeting point between Olivier Messiaen and Sun Ra. Participants aim to interact in radically different ways by expanding both the concept and form of a musical score.