|
Space: Please
meet in the lounge. softly,
stolen/dream crawl is a solo performance for a solo audience.
The piece lasts for five minutes and is repeated over several hours
for one audience member at a time. This is part of the small stolen
dances series, short works, repeated over time for a limited number
of viewers, each special version adapted for a particular site and
event. This is part of an ongoing body of work exploring fascinations
with the image of the lone figure and the incidental intimacies
of performance. with the assistance of: Maria Burton. Ben Ponton. |
| Bookings can be made by email: connecting.principle@ncl.ac.uk or by phone: 0191 222 8687 and will be taken on a first come, first served basis. If you have a preference for either time slot, please indicate. You will receive a reply to confirm whether you have been successful. |
| Fiona
Wright (b. 1966 London) has been making performances since the
late 1980s, developing an approach to dancing, writing and installation
which is inevitably personalised and yet deliberately unconfessional.
Her performances use stylised choreography and functional actions
and are often described as subversive and intense and even 'rare'.
Images of control and strength seem to flicker with moments of fragility.
"At last...something to think about." Live Art Magazine |
|
Current performance work. April 2002 Fiona Wright, currently based in Newcastle-upon-Tyne, has been making primarily solo performances for more than twelve years, working through choreography, writing and installation, presenting in the UK and Internationally. Her current solo performance ...kneeling down softly/And what is something to cry about then; (co-commissioned by Tramway, Glasgow and Arnolfini Live, Bristol) was first performed for an audience of 20, split into two groups seated at opposite ends of the long, narrow performance space.The performer works with the deadweight of 54kg of salt; her equivalent body weight, moving through different actions, between the two audiences. This was later developed in a special 20 minute version at the Arnolfini, made for just two audience members at a time and repeated for three hours over three evenings. This is part of an ongoing body of work, which seeks to investigate different proximities in very small audience encounters in movement-based performance. It has been developed together with the small stolen dances series, occasional short solo performances, made for a solo audience and necessarily repeated over time for a limited number of viewers. The pieces are usually five minutes in length and are often developed for specific sites, usually small rooms, such as a backstage dressing room at the Arnolfini's Inbetween Time Festival, a small upstairs gallery at Site Gallery, Sheffield and the kitchen of a domestic apartment at the Dia E Vento, Oporto. In some versions of this work, attention is drawn directly to the act of looking as the audience are offered opera glasses and the performer looks back via a small compact mirror. Usually there is no soundtrack and the visual organisation of the space, materials and the performed actions and dances that take place are quite minimal. The audience are booked in for appointed time slots while for the performer the work goes on, in a cycle of repetition, for some hours. Part of Fiona Wright's current research includes some published projects, which are concerned with the use of writing as documentation of live performance, the presence of uncertainty in art practices and the ways in which our own bodies and the bodies of others become written into our works. She is also a part time lecturer, connected mostly with the Contemporary Arts Course at The Nottingham Trent University (1994-2001). |
|
Fiona Wright also works with sound composer Ben Ponton as part of the performance research group ultr, which is currently working on a new movement and sound based performance designed to be performed for one person at a time. ultr are best known for the site specific piece section restricted , with Simone Kenyon, at the Tyne Pedestrian Tunnel, December 1999 (David Metcalfe Associates/Globe Gallery/North Tyneside Arts). |
