australia’s most wanted, 2002

Stephanie Lake, Wanted: Ballet for a Contemporary Democracy, Chunky Move

Stephanie Lake, Wanted: Ballet for a Contemporary Democracy, Chunky Move

Australia’s Most Wanted: Ballet for A Contemporary Democracy was inspired by the experimental works of Russian visual artists Komar and Melamid. The work evolved from Chunky Move’s survey of 2,800 members of the public about their preferences in contemporary dance in respect of style, numbers of dancers, gender, themes, narratives, costumes, lighting and viewing positions.

credits: choreography Gideon Obarzanek, set, lighting Bluebottle, composition, sound Luke Smiles, costume Jane Summers-Eve

performances: premiere The Workshop, Melbourne, May-June 2002; Energex Brisbane Festival, September 2002; Melbourne International Comedy Festival, Melbourne, April 2003; Sydney Opera House, Sydney, April-May 2003; Glen Street Theatre, Sydney, May 2003; Westside Performance Arts Centre, Shepparton, May 2003; West Gippsland Performing Arts Centre, Warragul, June 2003; Monash Performing Arts Centre, Clayton, June 2003; Klapstuk Festival, Leuven, Belgium, October 2003; Le Belluard Bollwerk International (BBI) Festival, July 2004; TANZ theatre INTERNATIONAL, Hannover, Germany, September 2004; Ludwigsburger Schlossfestspeile, Ludwigsberger, Germany, June 2005;Berner Tanztage, Bern, Switzerland, June 2005

 

reviews/articles – realtime

all in the execution
jonathan marshall, realtime 49, june-july, 2002

 

other

poll-driven performance a triumph
lee christofis, the australian, may 27, 2002

australia’s most and least wanted
vicki fairfax, the age, may 27, 2002

theatre/opera/dance: wanted: ballet for a contemporary democracy
lucy beaumont, sunday age, april 20, 2003

cheeky move mocks market research
hilary crampton, the age, april 21, 2003

wanted: ballet for a contemporary democracy, chunky move
jill sykes, sydney morning herald, april 27, 2003

by the people, for the people
vanessa mccausland, daily telegraph, april 28, 2003

 

www.chunkymove.com

© RealTime; for permission to reproduce apply to realtime@realtimearts.net

1 January 1999
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