THE FACTORY
Theatrical technology
A questioning of human nature and love of technology has defined Bristol- based company Precarious in recent years. Both Junction 8 and Driithers explored aspects of ourselves we'd sometimes rather forget. and presented them in a cutting-edge fashion. Now the company is back at the Fringe With another uncompromising work. The Factory.
Fusing physical theatre and multimedia. the show takes a timely look at consumerism. ‘Now that people have to pick up the bill for years of endless spending.‘ says director Dan Shorten. ‘it's prompted us to ask what it is that's missing in people's lives that we try to fill with shoes. cars and nose jobs — what is it that we really want’?‘
With an Orwellian/Big Brother feel to it. The Factory taps into the zeitgeist. while remembering that some problems are perennial. 'The Current economic debate has given us ideas and we clearly poke fun at certain issues and challenge others.‘ says Shorten. 'But there are also many influences that are timeless and need to be constantly addressed.‘
(Kelly Apter)
I Zoo Souths/de. 662 6892, 3—25 Aug, 8.30pm, C 70 (£7). Prevrews l 8 2 Aug, £7.
RISE Extreme movement meets electronica
Dry ice fills the air while hooded dancers move across a dimly lit stage. Despite the huge. wide space they occupy. there's something oppressive and deeply atmOSpheric about Tom Dale‘s new show. Rise. All of this is conveyed through a tiny clip on YouTube — which bodes well for the award-winning choreographers Fringe debut
Tickets available at Dance Base or by calling 0131-2225-5525. Book online at No show 11th &15thAugust/9pm (120mins)
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INVASIAN FESTIVAL
Choreography from across the Continent
There’s no shortage of diverse dance at the Fringe, but seldom do you find it all under one roof. The InvAsian Festival, however, is priding itself on bringing together a wide range of performers from throughout the eponymous continent, and basing them all in the new Quincentenary Hall.
Originally set up to help the British Asian community come to an increasingly expensive Fringe, InvAsian quickly grew to incorporate companies from Korea, China, Japan and Russia to name but some. Featuring Chinese dance, martial arts, contemporary, hip hop, classical Indian and much more, the Festival also has an extensive programme of workshops for all ages and abilities.
Making a particularly welcome return after last year’s five star show, Ballerina Who Loves a B-Boy are Korea’s MBCrew with Skywalk. ‘Their new show has a very similar energy,’ says Kevin Williams of InvAsian. ‘With a wonderful combination of modern dance and streetdance, performed by one of the top hip hop crews in the world.’
Scotland’s own classical Indian dance group, Dance lhayami are performing several evocative works, while Bollywood spectacular Spice of Life showcases the other side of Indian dance. And if it’s jaw-dropping athletic feats you’re after, Korea’s Lunatic Company know how to entertain a crowd. But with over 300 performers from 40 companies taking part in InvAsian, it’s impossible to name check them all - to see the full programme in all its colourful diversity go to www.invasianfestival.com (Kelly Apter)
I c/ubWES T (a) Oil/rice/itenary Hall. c327 1562. dates. times <2 prices vary.
iiioi'e resonance With younger audiences. And while Rise has its roots in modern liVing. Dale is keen for it to work purely as a piece of exciting dance.
'lhe piece can most outside any societal contextfl he says. 'It just eXists for itself -- but because of the world we live in. you put your own meaning onto it.' (Kelly Apter)
'The mental space of our lives is really guite claustrophobic and clogged up with stuff we don't necessarily want to be there.‘ says Dale. 'So we started thinking about the media and the messages that are around you everyday.' Having trained at London's Laban Centre. Dale has spent the past few years exi_)loring how contemporary dance can have
Two stunning performances. One unique show.
38 THE LIST FESTIVAL MAGAZINE (31 Ju|~'/ Aug 2008
www.list.co.uk/dance
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PERICLES REDUX Getting physical with the Bard
‘Putting Shakespeare to dance is a dangerous thzng to tackle.’ says John Farinanesh-Bocca about hi8 'viild retelling of Pericles. 'People are like. "well. are you going to make it a dance or are you actually gong to speak the language properly?" We're trying to do both.
The director of Californian physical theatre company No Man Apart. l-arinanesh-Bocca is no stranger to Edinburgh: he wrote and directed last year's Fringe First Winner l‘/isn / Had a Sixty/a Plath. But whatever prompted him to go from a one woniai‘ play to a dance odyssey of incestuous kings and nioi'alising prostitutes?
‘lvly creative homes have always been people who dabble an as inany genres as possible. and telling stories through the body seemed to be an interesting way to approach Shakespeare. It‘s character that drives both of these pieces. too. No matter ":()‘-.'.’ you tell it. you're playing about ‘-.'."tn real human relationships' iKirstin lnnesi I Pleasance Cot/i'tu'i/tl. 53:36 (35:30.
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