mosey

and a little bit of this tonight please - reckless sleepers workshop at pspace

Tue, 05 Mar 2013 00:27:01 -0500

and a little bit of this tonight please - reckless sleepers workshop at pspace

Ticket sales open for This is Capital City at La Boite Indie

Tue, 05 Mar 2013 00:23:26 -0500

Ticket sales open for This is Capital City at La Boite Indie:

In the urban surrounds of the Kelvin Grove Village, solo audience members embark on a journey into an imagined world called Capital City. Armed with a supplied mobile phone, you are charged by city officials to investigate the myths and locals of the city.

You are steered through Capital City by audio, flags and other unexpected trigger points. Here lies a community with something to hide. The locals tell one story, the city officials another, and the city itself keeps secrets of its own. At the end of your quest, on the city’s outskirts, you will be asked to take allegiance with one side. Keep a quick wit and focussed eye, for in Capital City, anything can happen.

Limited spaces - be prepared for weather, walking, and a solo trip around an urban space.

https://www.facebook.com/events/172980886182945/?ref=ts&fref=ts

work it, don't flurk it

Thu, 21 Feb 2013 23:08:00 -0500

HOME AWAY FROM HOME _ Listen Here (3min 54)
https://soundcloud.com/sandra-carluccio-1-1/home-away-from-home-mall

GRAB YOUR PARTNER _ Watch Here (52secs)
http://www.youtube.com/watch?v=KgXaZU6zS_M

THIS IS KANSAS CITY_ Watch Here (2min 27)
http://www.youtube.com/watch?v=tb3X7sR2t4M

Mike’s work from My Fiction

http://www.triplejunearthed.com/MYFICTION

getting geared up for This is Capital City!

Sun, 09 Dec 2012 19:06:43 -0500

getting geared up for This is Capital City!

Kansas City in Newcastle - TINA -> Crack Theatre Festival - oh yeeah...

Sun, 07 Oct 2012 04:01:00 -0400

This is Kansas City was adapted to a small space around Newcastle starting from the Hunter Street mall and radiating out from there - as part of This is Not Art festival and under the umbrella of Crack Theatre Festival last Saturday.

The festival itself was a great ride, seeing a range of performance works, and even managed to catch an event at the National Young Writers Festival - and will definitely make more time for events next year.

This version of Kansas City was lo-fi, only using one continuous mp3 track on the phones to move people through the Newcastle town space.

In the recording I used spoken word, music (by Imraan Paleker) and my own attempts at soundscape to lead individuals through a journey try to evoke images of all the things a monster could be, and new perspectives on the city spaces.

What was great to see was the range of people coming to participate in the work, those part of the festival, locals, and punters - all of mixed ages.

I tried to keep the sensory part of things in the mix by prompting participants to draw with fingers, smell, look, hear the journey (and buildings), and eat (or not) seeds in their final moments. I wanted to make the work open, structured, a mix of safety and uncertainty, with moments of taking in the my words, the city, or placing their individual meanings into the work.

It was great to be able this time to let participants loose without shadowing or following them, knowing with some certainty that the instructions were straightforward. In future iterations in this work, with more time and people power, I would like to give more opportunities of agency or choice to participants, and an incorporation of live bodies, either with other participants or performers. I wanted this to be done in this version of the work - but all in good time.

Thanks for having me Crack Theatre Fest and TINA - it was great to explore new space and history, meet new people, and learn a little bit more about presenting this kind of work. A highly recommended festival!

Word from Jane on TINA - Newcastle

Sun, 07 Oct 2012 02:44:01 -0400

Word from Jane on TINA - Newcastle:

No Plain Jane reflects on the TINA festival - with This Is Kansas City in the mix of the mentions. Thanks Jane!

This Is Kansas City- hitting Newcastle as part of Crack Theatre...

Sun, 02 Sep 2012 09:30:37 -0400

This Is Kansas City- hitting Newcastle as part of Crack Theatre Festival at This is Not Art - TINA on Sept 29th.

Memory top-up

Wed, 11 Jul 2012 08:19:00 -0400

Over the past few months I have seen a number of great works that explore the notion of audience as participants in the piece..

for Next Wave Festival- Melbourne May 2012

Blindscape - Skye Gellmann - a brilliant “iGame” that engrossed me in a world of sound, movement, and light through the use of a iPod touch to stir my imagination in and out of the space.

Fifteen - Liesel Zink - a voyeuristic dance work that had me contemplating how I move, think, feel, during the daily grind.

Wheyface - Dan Santangeli - an eclectic participatory work that touched me with the recreation of “the last autumn” and insight into the end of the world.

La Boite Theatre - Indie June 2012

A dinner with gravity - Sarah Winter - a warm social event that brings joy through the things taken for granted such as good people, good food, and the gravity that keeps your feet on the ground.

The Edge July 2012

Where’s Alice - Backbone Youth Arts - Emma-Che Martin, the ensemble, and Clinton Freeman - a smoothly woven journey with video, live action, and sound to arouse the feeling of friendship and their endings, and what it feels like to confront that.

Cross - Stitch (The Night of the Dead Trees) June 2012 - Sarah Winter and Metro Arts

Vodka and Truth - Rob Millett - a shot of vodka for the both of you - and you tell the truth - if only the truth was easier to spill..

Donate, Trade, Exchange - Thomas Quirk - an gentle one on one, where your a memory of yours meets a strangers.

All of these events left me more informed and inspired about the possibilities of an interesting live experience.

Latest work -

It was at Cross-Stitch that I presented an mp3 work of celebration of public and private world of couples dancing and the revival of the good old bush dance…a short instruction based and a partnered experience.

more grabbin and movement to come!

behind the curtain of this is kansas city - clinton freeman

Mon, 28 May 2012 03:57:44 -0400

Clinton Freeman, our main technician behind “This is Kansas City” has written a detailed look into the workings, learnings, and possibilities of the present and future nature of the work.

Thanks to both techies/hackers Clinton and Luke Atherton for realising these possibilities and putting them into practice!

http://reprage.com/post/23783924418/behind-the-curtains-of-this-is-kansas-city

kansas photos by lynette letic

Mon, 21 May 2012 09:08:43 -0400

kansas photos by lynette letic

Kansas in Review

Mon, 21 May 2012 09:03:00 -0400

This is Kansas City and its first showing at the Anywhere Theatre Festival has now concluded - and with the audience feedback there are also reviews to chew over and take solace in the things that worked - and improve the possibilities of the new version.

Here are three reviews by Brent Downes (Theatre People), Nerissa Rowan (ArtsHub), Samuel Boyd, and Nicholas Robertson, respectively. The fourth is a writer’s blog review from Susanna Viles.

http://www.theatrepeople.com.au/reviews/kansas-city

http://www.artshub.com.au/au/news-article/reviews/performing-arts/this-is-kansas-city-189435?sc=1

http://anywherefest.com/blog/2012/05/review-this-is-kansas-city/

http://anywherefest.com/blog/2012/05/review-this-is-kansas-city-2/

http://andthegirlcanwritetoo.blogspot.com.au/2012/05/this-isnt-brisbane-this-is-kansas-city.html

Thanks for you kind words and thoughts.

We like interviews - JUMP mentorship through the looking Glass on ArtsHub

Thu, 10 May 2012 21:33:53 -0400

We like interviews - JUMP mentorship through the looking Glass on ArtsHub

The Edge interview - This is Kansas City

Wed, 25 Apr 2012 01:09:45 -0400

The Edge interview - This is Kansas City

this is kansas city + perth pt 2

Wed, 04 Apr 2012 00:43:00 -0400

During my two-week residency in Perth I was making a demo version of a performance experience I am creating for the Anywhere Theatre Festival, This is Kansas City for May 17-19. During the two weeks I was playing with the narrative, the voices that lead the journey, sound, space (in this case it was Hyde Park, Perth), and instructions for participants to lead them around the journey.

The performance is a solo experience that is part narrative, part mystery, part orientation and reimagination of space for participants’. To test out the performance I took my preconceived concepts and responded to site to create a loose narrative with two guiding voices, one called the Monster and one called the Authorities.

My pre-residency concepts covered this:
The work at this stage always revolves around a water feature. This investigation came from my interest to do a work based around the Brisbane River. Originally I thought a murder mystery on a city cat would be cool, then the floods happened shortly afterward and the playfulness of a murder mystery game then seemed inappropriate.

Other events around the river, past and present deaths and real crime cases made the association to place even darker. This was all getting a bit too much for me, so I decided to step back make the narrative more metaphoric, rather than an actual murder mystery.

To represent the darkness I decided to have a metaphoric voice for the river, and a voice for the city. This is how I arrived at the voices The Monster (a criminal) – the river voice – demonised vs othered, and The Authorities – the city’s voice – protecting vs controlling.

But the demo version of the piece in Hyde Park, Perth didn’t reflect this, according to participant feedback, it was too one sided. So now I am examining the struggle between these two voices, and making more of an ethical challenge for participants. Brisbane’s city space and the context of Queensland’s natural, social, and political history implicates the use and reception of these voices.

My mentor also gave me a novel to read during my residency - although I didn’t get through all of it, John Birmingham’s Leviathan (described as the unauthorised biography of Sydney). The non-fiction was a good way of getting another perspective of what I am trying to express in my piece - the city being a type of monster - and the journey of how it came to be that way.

These ideas have converged post-residency to position the voices, as well as positing how a participant will be involved, within the piece.

(photos taken by Robbie Karmel)

CIA studio residency Perth - sharing things Pt 1.

Tue, 27 Mar 2012 00:20:00 -0400

I’ve just come back from Perth, where I met up with my mentor, Steve Bull (PVI Collective) at the CIA studios to help me develop a test version of my work titled This is Kansas City. The residency and creation of the performance is part of my participation in the JUMP mentoring program, and there will be more activities to come later this year.

The work is set to have its first public showing at the Anywhere Theatre Festival this May.

The two weeks was intense, I was learning new things and about new people everyday. So I will blog about this experience in installments. I was going to do it during the residency, should’ve could’ve would’ve but it was a jam packed time!

So, my mentor introduced to a work of an UK Artist called Duncan Speakman, now part of a collective called Circumstance. They are “known for the creation” of “subltemobs”. Like a flash mob, but more discreet and a bit more poetic. The work, called as if it were the last time, reminded me of the power of giving participants experience. You should be still able to download the mp3’s from the website, and they damn nearly broke my heart.

This kind of work starts to describe the kind of work I am making. It creates “cinematic experiences in unexpected locations” for participants, that is directed by audio work with everyday electronics. Movements are subtle, yet powerful, and are laced with poetry. I think the work I am making now is a bit more narrative based if there was any point of difference. But Circumstance and their work are worth checking out.

And I cannot forget, where all of my interest in this kind of audio/locative/participatory work started, with the introduction by Backbone Youth Arts and Brisbane City Council to Melbourne based company One Step At a Time Like This and their locative journey of En Route in 2010 for the Inhabit Fiesta. As a local artist assisting on the project, it opened my eyes wide to the possibilities of audience and their role in a creative experience. It is not surprising that One Step are taking En Route to London Festival 2012 as part of the London Cultural Olympiad. Very cool.

I could go on, but will leave that til next time!

World Theatre Festival

Sun, 19 Feb 2012 04:45:26 -0500

I saw two great works at the World Theatre Festival at the Powerhouse today - Elephant Gun by The Escapists and the Breadbeard Collective (AUS), and And The Birds Fell From The Sky by Il Pixel Rosso (UK).

Elephant Gun was great for its humour, spectacle when in public view, and for its colourful images created with natural backdrops and splashes of colour and magic with paper, umbrellas, and balloons, the music was great too.

And The Birds Fell From The Sky took you on a sensory and fantastical journey via video goggle and soundtrack - a good one if you get a chance to see it!

www.worldtheatrefestival.com

BT's volunteer website

Tue, 14 Feb 2012 19:25:00 -0500

BT's volunteer website:

Getting to know you… getting to know all about you - great way to give info of the artists who have worked with Blast Theory through this dedicated volunteer page on their website - more still to come!

Chat about Life/Art with Ju Row Farr from Blast Theory

Fri, 10 Feb 2012 07:12:00 -0500

During my internship with Blast Theory in Brighton it was great to feel part of an established digital media/performance company. I was with welcoming people with similar interests and I was happy.

There were other times when I felt an uncertainty of starting an independent arts career and where finding my feet when I would return to Australia seemed hard, so I wanted some advice.

I asked to talk to Ju, one of the three core artists of the company to talk about her beginnings, her feelings, and practices as an artist.

Below is only a very small section of our conversation that I think may be relevant for others to read.

ME: Have you ever thought you’d like to do something else (other than be an artist)?

JU: No I’d never thought – “I don’t want to be an artist anymore” but I’ve often through I’d like to try that for a day, or that for a day. And then I think “Oh, is that an art project or it is fuel to take back?” I think my job as an artist is sometimes like a weird sociologist or anthropologist – sort of with a slice of politics in there and that curiosity to go out and try other jobs – is partly because I think my job as an artist is to comment or to understand on what’s going on. But I don’t think I’ll ever go through a massive career change – but maybe for health reasons, or family reasons, you know those things go through my mind from time to time. But I think it’s more a curiosity or what I could learn from other things – almost like research. The form of the art could change.

ME: What did you find out about your practice during your sabbatical?

JU: What I decided to do was look at what I’m interested in. What do I look at and what do I see, and what materials do I use? And in a way it was very simple but it felt like a really good place to start. You sort of need to remind yourself of what you know, and what you feel. And I think that’s what the six months was about (sabbatical). So I started drawing, and about three months in I ask, “do I head to some sort of conclusion in the next three months?” And my desire was to keep it as open as possible.Even though my practice for the last 20 years has been “have a goal.” You know I don’t think we work very organically. We probably do in a way, but we don’t work like “oh, let’s see what we feel like doing,”

ME: Did you used to?

JU: We used to, when we had less projects because we (Blast Theory) had more time – more time less responsibilities for other people, buildings, expectations, and you learn to make decisions quicker and you learn to know what you like quicker.

I decided that music was really important to me – in a way it’s the best art form for me because it goes straight through the body. I started to go through music chronologically – I started to realise how bad I was at singing but how physical it felt and that whole thing of doing live work getting back into my body – and realised that I hadn’t performed inside out work for a long time – and how music and singing became important.

ME: I guess I’m finding where I’m at now I quite enjoy performing but I also enjoy doing things for other people in the way that you have the interactive works – making something that shifts peoples world a little bit – and I don’t know whether that includes performers or not or I’m still - I haven’t really done much with my practice yet …

JU – But that’s okay Do you feel bothered by that? That you don’t know where you want to go or you want to do lots of different things?

ME- The not knowing.

JU: I think it’s really fucking hard Sandra. You know I’m an old crock and I’ve been doing things for a long time and I still don’t know what I’m doing half the time, but I’ve got this other stuff around me this thing at Blast theory – so it appears that we appear to know what we are doing – but you know it’s very fragile. Not knowing is okay – we do live in a world where everyone seems to appear to know what they are doing and be on some sort of guided missile.

ME: I try not to compare – but I guess when looking at other people my age appear to know what they’re doing – and are doing things that I feel just a little bit…

JU: I didn’t know what I was doing at 22 – I just knew I wanted to do some stuff – pretty similar – and I probably knew things I was interested in. You know, this sort of stuff didn’t exist 20 years ago.

It began with us wanted to do something. Matt and I found things article about this killing in Ireland – and it was set out in a way that you could visualise what had happened and suddenly we had this visual story board and we could see it in space very clearly – and we decided “Let’s make a piece of work about this”. And what the fuck did that mean? And we invited our all friends around – not knowing if any one would be interested in working with us – on this ‘thing’. We invited about 12 people around – a DJ, a poet, a gymnast, and it’s all slightly embarrassing, visual artists, Nikki and Will who was one of the original members of Blast Theory…

ME: Did you have support?

JU: No, we had no support – I think we didn’t have any idea of the world of art funding – we just knew we had no money – we wanted to do something and we wanted to work with people who wanted to do something too. We didn’t have that benefit of hindsight. I think what bound us together, apart from that we all wanted to do something, is that we were all interested in the way things looked – like brandings of things.

We got along important people along to what we’d made– maybe because we described it quite unusually – we did fundraising – we did a 13-legged sponsored walk – you know where you tie your ankles together - we had a bar – flap jack stall – 8 techs and 8 performers – we didn’t pay people anything- we didn’t have to pay for the space – we were in profit from the bar so we all felt really rich – in a way it was that naïve.

The things that are said about what keeps you going – when I think back to then, I think it’s a belief that other people want to go on some adventure in their lives – whether its’ working with you – whether it’s the audience.

It’s okay to slightly make a fool of yourself and go, “Look – I have no idea what I’m doing but…” – honesty can reel people in – but it isn’t easy.

JU: I talk a lot to University of Brighton students and Sussex students especially – the best advice I think Is that you should keep trying to do whatever it is you’re interested in doing – which is obvious – it’s about your practice – whatever form it is.

Also, it’s as simple as asking people who know how to do something to ask them for help – go towards people with an idea and ask for others to come onboard.

I would encourage you to practice your practice – something that is trying to hone that in you – if you’re a painter it might be painting everyday – but you can be on that without necessarily having the right environment. People say, “Well I need by space – I need my studio…” Those things don’t make you have good ideas – the ideas aren’t waiting in an empty white box somewhere where you open the door and you go through to find them. Exposing yourself to different cultural things is good – sponging it up. But you need to keep producing it (your practice) out of you yourself everyday.

You can do a lot of refining with very basic tools and just yourself.

If you break it down it’s less daunting.

http://www.blasttheory.co.uk/bt/index.php

Patrolling and sleuthing at SLQ, GoMA, and Museum of Brisbane...

Fri, 03 Feb 2012 00:49:00 -0500

Patrolling and sleuthing at SLQ, GoMA, and Museum of Brisbane for interesting Brisbane stories for my a site specific work. I did find manacles on display in the MoB. Cabinets of Curiosity indeed.

time to walk the talk

Tue, 27 Dec 2011 19:46:54 -0500

Thanks to the JUMP mentorship program through YAQ and Australia Council I now have some support to make a new creative project. What I know is that there will be smart phones, apps, public spaces, and an exploration of social phobias in public spaces. My mentor will be the lovely steve bull from the PVI collective in Perth. So I will be doing some of my project development in Perth at CIA Studios and the rest in Brisvegas.

Stay tuned for discussion of the trials and errors on my quest to create an interactive urban performance EXPERIENCE.

http://www.jumpmentoring.com.au/News.aspx?id=44

neyyyyyeeeeeeee