Ghosting Part 2 - Cabaret
Aotea Centre at THE EDGE®, Auckland
17/02/2012 - 18/02/2012
Production Details
Menacing, generous and finely detailed, Ghosting Part 2 is a genre-hopping cabaret where entertainment meets research. An intensely playful, fully immersive work that gathers electricity, confetti, marching, and perfume into an untimely composition. The event is guided by audience selection from a menu of potential performance vignettes.
This is a mix tape of physical entertainment at the limit and always more than you bargained for. Ghosting Part 2 – Cabaret was first performed in 2011 as one of a six part series, Ghosting 1-6. This was a diverse collection of works, including a musical (Part 6) with 80 singers from the Greater Auckland Chorus, an oral histories project with residents of Selwyn Village and a performance ballet.
Sean Curham, a New Zealand choreographer and performance artist, is regarded by the arts community as a well-kept secret. Curham likes the idea of performance being a constant – that all things, activities, thoughts and actions are involved in the creation of his work. Everything is viable material from fence posts to lectures to gestures – anything at all. His latest project is a series of radio plays.
“These works don’t offer the logical development of an idea. This is only because I’m not a
linear thinker – I can’t go in a straight line. All I can offer is a certain stylistic encounter
with things – an idiosyncratic and unreliable way of making connections.” Sean Curham
7.45pm on 17 and 18 February 2012
60 minutes
A Ghost in the Machine
Review by Sharu Delilkan 18th Feb 2012
True to form Sean Curham’s work at the New Performance Festival, Ghosting Part 2 – Cabaret, is nothing short of unexpected.
The minute we walked down into the bowels of Aotea Centre we are greeted by Curham’s set, which felt more like we’d walked in on someone in rehearsal. And as people gathered it was evident that there was an air of anticipation, or was it trepidation?
It was a few minutes before Sean said hello and encouraged the audience to move around the set, which helped everyone settle in as there didn’t seem a clear place for the audience to place themselves, bar the few chairs on wheels randomly placed in the space. [More]
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