Diary of a collaboration.Day 3.

props During our previous two days collaboration, we shared song, sounds, music and dance representatives of ‘Madam’ figures from our respective cultural backgrounds; we’ve explored initial texts generated by individuals of the ensemble in response to the stimulus text (Genet’s The Maids); we’ve made physical and text-basd improvisations in response to the sound environment Adrian Curtin and Mick O’Shea created, and in response to themes such as ‘siblings’, ‘servitude’, ‘distance’ and ‘intimacy’. This morning we begin with the starting point of props, puppets and costumes. props 2 Gaitkrash (Bernadette Cronin, Regina Crowley and Mick O’Shea) brought a treasure trove of objects from their Cabinet of Curiosities, which emerged from the ensemble’s first collaboration in 2007.

Cabinets of curiosity, a phenomenon of the Renaissance, traditionally presented the rare, the exceptional and the marvelous, encompassing both ‘God’s creation’ and man’s art. Performed by hands in the twelve mini-theatres of the cabinet, curious objects – animate and inanimate, organic and inorganic – shift, morph and mutate under the spectator’s gaze. The visual images wrestle, dance and pause in conversation with unique sound sculptures. no stories or narratives are offered – these take shape in the mind of the spectator. This wondrous cabinet of sound and vision beckons the spectator to dream-time.                                                                                     source: https://www.facebook.com/permalink.php?story_fbid=500824779954141&id=276412909061997

Phillip Zarrilli with one of Mick O'Shea's puppets

Phillip Zarrilli with one of Mick O’Shea’s puppets

Phillip brought out various puppets, with which we explored agency and manipulation, prompting various instantaneous improvisations, where Sunhee and Jeungsook manipulated Adrian as he played the cello.

mainds and adrian

Already, even after such a short period together, we are beginning to see possibilities for assemblage – content that has resonance and complicity – counter-point and dissonance.

We begin to give names to sounds and combinations Mick and Adrian are making so that we may be able to identify and recreate them once we begin to montage. We could continue generating material forever, but already I am itching to put certain structures, texts, and physical scores together….

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