An immersive experience that yields insight into 4 creative individuals in the gay community. 

Stage: Meat Market in North Melbourne, warehouse fitted with lighting, sound, and seating for the audience.

Setting of work environment / men at work / the everyday - elements of Dada / Photomontage on a 3D scale relative to the male body and its strength - materials of a minimal colour palette were curated by the 4 dancers in silence, crossing paths through body or material element built tension which occasionally erupted with sound & physical. Movement was slow, considered, and without any words uttered, an idea of the individuals on stage began to form through their own energies, physical attitudes and control. 

Scenes merged together & transitions were made through changes in sound, light, costume and movement. Topics of work, home, social encounters, private encounters, ceremony and society were reflected during the performance.

Lighting - aided in focusing the attention of the audience but also manipulating mood and vision through the play between colours, positioning and strength of overall light

Sound - created through multiple platforms including electronic speakers, varieties of vocal displays, material play, movement of the body on stage, and sound of costumes

Costumes - possibly the defining tool in setting and scene changing, costumes were changed on stage, and reflected more so a change in persona and attitude in the individuals that wore them rather than a change in story. This is ceremony in itself, the creation of a presentable image through clothing. 

Their was heirarchy // Kindom - attributes of strength, vulnerability, chaos, control, ignorance, wisdom, youth & age, creativity, shyness, confusion, struggle, community, affection, care, sensuality, frivolity, comedy, glamour, resurrection, recreation, beauty & ugliness ; but all of this seeming to create a dialogue about a creative force within the community.

From the audience, everyone was enticed and enthralled from the beginning, and were on the edge of the seat at the close. The merging of artistic elements and individuals on stage was both amazing and intimidating.

We would like to see that new money is provided to fund programs such as the new ‘National Program for Excellence in the Arts’, rather than sacrificing the small to medium organisations and independent artists, who are critical parts of the ecology because it is to be funded by cuts to the Australia Council.
—  Phillip Adams BalletLab (submission #152)