M1 Open Stage + DiverCity

When

2 & 3 June 2017, 8PM

Venue

Esplanade Theatre Studio

 

Featuring a brand-new festival commission and ten talented choreographers from Singapore and beyond, this year’s M1 Open Stage + DiverCity is a powerpacked event tracking the artistic pulse of contemporary dance from around the world. Spread over two evenings, come be surprised, delighted and entertained by these irrepressible dance talents.

 


 

Please note that the programmes of M1 Open Stage are different on both nights, while DiverCity remains the same.

M1 Open Stage 1 + DiverCity (Friday, 2 June)

 

Jamais vu by Anton Safonov (Ukraine)

Jamais vu (/ˈʒæmeɪ ˈvuː/) translates from the French to “never seen”, the psychological phenomenon of experiencing a situation that one recognises in some fashion, but nonetheless remains greatly unfamiliar. A series of evocative stage cues narrated by an increasingly sinister narrator conjures a scene of desolation. Is the dancer’s experience physical, or is it taking place in the mind? It is up to the audience to decide.

 

Silentium by Choi Young Hyun & Son Yu Joung (South Korea/Singapore)

The deepest feeling always shows itself in silence. It may be the soundlessness after a long battle with oneself, or the turning of a blind eye. Like dance revelers in a rave, utterly consumed by the moment, the movements gradually reach schizophrenic levels, with the dancer finally burning out. The lights and music are abruptly turned off. Silence is restored again.

Silentium was presented at SIDance Festival 2016 in South Korea. Watch the trailer.

 

Watcher by Lai Hung-Chung (Taiwan)

Watcher draws inspiration from the 100-eyed giant of the Greek mythology “Argus” and its ability to always keep a few eyes open even whilst asleep. Channeling movement techniques and concepts from the East, Lai portrays the trials and tribulations of this “Watcher” as an allusion to the Chinese proverb “on-lookers see more than the players” (当局者迷、旁观者清 ).

 

Body Language by Kota and Yoshika (Guest performance from Japan)

Natural movements derived from the act of play underpin Kota Kihara and Yoshika Shinohe’s choreographic explorations, culminating in this gender-natural piece interspersed with moments of youthful hilarity and solemnness. Body Language was crafted over the course of mini performances in Japan, Korea, and Malaysia’s Sibu International Dance Festival 2015.

A guest selection from Fukuoka Dance Fringe Festival 2017. Body Language has also been selected for Hong Kong Dance Exchange, a new contemporary dance platform starting in January 2018.

 

A Trip of… by Nguyen Thanh Chung (Vietnam)

Familiar to T.H.E’s audiences after a stint with the company in 2014 – 2015, Vietnamese artist Chung wears his heart on his sleeve with an emotional ride through the grey lines of reality and unreality.

 

A special commission for DiverCity: Corollary《知执止•秩》 by Germaine Cheng (Singapore)

Corollary知执止•秩》finds its roots in an earlier piece by Cheng titled Hand, Shake (2016). Expanding from the central hypothesis of the Rube Goldberg machine, she reaches even further along its spiralling path of creativity: machines formed from an intricate network of chain reactions, engineered with servings of whimsy and wisdom to culminate in a singular action – yet, this singular action can often be easily accomplished, thereby negating any need for such complex process.

Components of a Rube Goldberg are forced to “behave”. And in so doing, eliminate any possibility of error. Each cog serves to respond and cause a response. These responses must be identical each time the machine is set in motion, as it careens towards its end.

For DiverCity, Cheng envisions a Rube Goldberg machine composed of human parts. The relationships between individuals are cast as a cog, spring or domino caught in the web of a more complex, more wondrous machine. What lies beyond the functionality of our interactions? And would that which lies beyond cause us to deviate?

Corollary知执止•秩》pursues the question of the role free will plays in relation to functionality. Humans may certainly be made to behave, yet what becomes lost in the process?

Through a 10-week creation process beginning in March, Corollary知执止•秩》pursues the question of the role free will plays in relation to functionality. Humans may certainly be made to behave, yet what becomes lost in the process?

For illustrative references of the Rube Goldberg machine in modern culture, please visit the following links at approximately 4 minutes each:

This Too Shall Pass by OK Go

The Dresser by Joseph Herscher

The historical context of Rube Goldberg machines – a 30-minute read

 

 


M1 Open Stage 2 + DiverCity (Saturday, 3 June)

Mist by Stephanie Burridge in collaboration with Yarra Ileto & ‘live’ performance by Kailin Yong (Singapore/Australia)

…Memory…delusion…voices inside…mist…

Inspired in varying parts by the delusional Miss Havisham (Great Expectations, Charles Dickens), the tragic Ophelia (Hamlet, William Shakespeare) and an ill-fated Giselle (Giselle, traditional classical ballet).

Originally created for Intensi-5, an ExxonMobil Campus Concert (EMCC) 2016 presented by NUS Centre For the Arts.

 

Unstructured Time by Gabrielle Revlock (U.S.A) 

Unstructured Time is a piece of structured improvisation using the hoop, a central apparatus of Revlock’s research since 2006. Whereas her previous research has centred upon its gravity defying, endless revolutions, Unstructured Time allows Revlock to follow her irregular rhythmic impulses while simultaneously negotiating with the stable rhythm insisted upon by the hoop. This opens up a new physicality in dramatic tension and relationship to rhythm in a space of pure silence.

Unstructured Time makes its premiere at the M1 CONTACT Contemporary Dance Festival 2017.

 

Touch by Albert Tiong (Singapore)

In touch with sensations; In touch with moods; In touch with emotions; In touch with words; In touch with flesh; In touch with breath; In touch with the melding of you and I.

 

Can’t look through your eyes by Katja Grässli (Switzerland/Netherlands), performed by Lau Beh Chin (Malaysia)

A solo performance at once poetic and physical, strong and mystical, it delves into the inner world of an Asian woman who struggles with her (intercultural) identity. Inspired by the philosopher Marc Colpaert and his book “Where Two Seas Meet”, Dutch choreographer Katja Grässli and Malaysian dancer Lau Beh Chin explore the boundaries of two identities; intermingling different cultural histories whilst creating a performance that connects Malaysian traditional dance to an experimental process.

Watch the trailer here.

 

BAN by Hwang Dasom & Park Shin Jung (Guest performance from South Korea)

BAN (半) is a half-human, half-animal figure conceived by the Korean duo to represent a human being who cannot be classified. In the blurring of boundaries, a strong visual image emerges of two different species co-existing as one.

A guest selection from South Korea’s N.D.A Festival 2016. 

 

A special commission for DiverCity: Corollary《知执止•秩》 by Germaine Cheng (Singapore)

Corollary知执止•秩》finds its roots in an earlier piece by Cheng titled Hand, Shake (2016). Expanding from the central hypothesis of the Rube Goldberg machine, she reaches even further along its spiralling path of creativity: machines formed from an intricate network of chain reactions, engineered with servings of whimsy and wisdom to culminate in a singular action – yet, this singular action can often be easily accomplished, thereby negating any need for such complex process.

Components of a Rube Goldberg are forced to “behave”. And in so doing, eliminate any possibility of error. Each cog serves to respond and cause a response. These responses must be identical each time the machine is set in motion, as it careens towards its end.

For DiverCity, Cheng envisions a Rube Goldberg machine composed of human parts. The relationships between individuals are cast as a cog, spring or domino caught in the web of a more complex, more wondrous machine. What lies beyond the functionality of our interactions? And would that which lies beyond cause us to deviate?

Corollary知执止•秩》pursues the question of the role free will plays in relation to functionality. Humans may certainly be made to behave, yet what becomes lost in the process?

Through a 10-week creation process beginning in March, Corollary知执止•秩》pursues the question of the role free will plays in relation to functionality. Humans may certainly be made to behave, yet what becomes lost in the process?

For illustrative references of the Rube Goldberg machine in modern culture, please visit the following links at approximately 4 minutes each:

This Too Shall Pass by OK Go

The Dresser by Joseph Herscher

The historical context of Rube Goldberg machines – a 30-minute read


M1 Open Stage Twin Deal: $37.50

With two different line-ups on each night, purchase the Twin Deal to catch all 10 performances that made our open call cut.

$25 / $15

Limited concession tickets for students, NSFs and senior citizens. Concession tickets are not eligible for any other discount.

Buy tickets 2017-06-02 20:00:00 1970-01-01 00:00:00 Europe/London M1 Open Stage + DiverCity For details, link here: http://the-contact.org/shows/m1openstagedivercity/ Esplanade Theatre Studio The Contact hello@the-contact.org