interactive/live art piece using multimedia elements and spoken word
by: Wei-Hsuan Chen (Nobel), Declan George Candiani
sound design by: Xu Lai (Larry)
costume design by: Shawne Holland
special thanks: Abigail Conway, Patrick Furness, technical team
running time: 20 minutes
location: George Wood Theatre
Downtown streets burning embers
Soulless robots with mechanical faces side-walk walking walking in straight lines
Walking past their own personal bridges of expression
Hypocritical puppets of society
Consuming the artificial air
Too brainwashed to follow their own path
Addicted to false ideals
Death forever plaguing their minds
But never properly pondered
Devoured by their own ego
Like the next McDonalds meal
A major reboot is needed
To jump start their hive mind
Look for truth and honour
Instead of fake love and deceit
Question: How does man consume itself within the nature of reality?
Looking into the essence of human consumption.
The performance takes place into 3 parts of phases:
Audiences could use objects and clay on the table to decorate and shape the mannequin.
Audiences create the human gaze, which reflects on what a mannequin would look like at the end.
Two performers use their body to illustrate the ‘objects’ from the Mannequin to express how humanity consumes those objects and the reflection of the human body to the object itself.
Combining ‘Voice’ and ’Body’ to play with the activity of ‘having conversation’.
From using the questions, descriptions and repeated sentences to exploring the essence between ‘Voice’ and ‘Sound’. Therefore, for all that, discovering how knowledge identifies us as mankind.
As a company we are inspired by the work and philosophy of Antonin Artaud.
We believe that his techniques and methodology allow for greater expression of the self and the expansion of the human consciousness. We are also looking at the idea of consumption and humans consume certain things in society, which may be food, television or otherwise. In preparation for our performance, we have researched into rehearsal techniques of Artaud, and what exercise he used for his actors to get prepared. Additionally, we have played around with various improvisations which have aided us in our development of our research into directors who had an Avant-garde approach to acting and art as we do not want to use the typical theatrical conventions of the past.