For the past 45 years Mascall has accompanied classes and discussions with gibberish. Inspired by this, our new creation analyzes timing, accents and rhythms of the sounds that erupt from the body as expressions, building a libretto of repeatable human emotions. Exploration is physically challenging and unpredictable; what has emerged to date is fast, rhythmic, often wildly funny and noisy.
Mascall: “I first tackled this idea with student dancers in Folk Dance for Muddy Waters (2013, School of Contemporary Dancers, Winnipeg). This new investigation is fuelled by the input of mature performers, and the collaborative creative process is offering discoveries that have been the highlight of our research this season.”
Combined with Mascall’s somatic approach incorporating the different systems of the body, and using a technique derived from Grotowski-based training with Linda Putnam and Evergreen Theatre, Mascall is, as ever, researching the universals through the body. The result is work carrying very few assumptions.
Performers involved in this body of research include Anne Cooper, Vanessa Goodman, Eloi Homier, Billy Marchenski, Molly McDermott, and Walter Kubanek.
Scoring and performing live in the production is composer and violist Stefan Smulovitz, with whom Mascall has collaborated on previous interdisciplinary works. Specialist in experimental voice DB Boyko joins them. Liz Kinoshita (Brussels) has contributed insights on the mechanisms of the Musical.
Dancing on the Edge 2017 saw excerpts-in-progress of OW presented to warm response. The production premieres July 4-14, 2018, installed in the MascallDance space at 1130 Jervis, during Vancouver’s Dancing on the Edge Festival 2018.
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