Creator of the display typeface Whimsy Kimberly Geswein. She made some free fonts often handwriting stylesand also ran a personal handwriting font service [those fonts have names that start with KGD]. FontSquirrel link. Fontsy link. Fontspring link. Google Web Font Directory link. Family home page.
Nelsson completed it to You Are Loved Pro. Nelsson, CheapProFonts. Google Plus link. Open Font Library link. Graduate of Rogier College in St. Florida-based creator of Traffixpixelized. She created the hand-printed outline typeface Hybrid Designer in Tallahassee, FL. Inhe created the squarish typeface family Quest and the monoline sans typeface Austere She created a pen-drawn alphabet in Creator of a photo-play font called Fingerhot Pepper Born and raised in Miami, she is presently in New York City.
During her studies, Laura Pol Pol Designs created the free blackboard bold display typeface Wamed and the modular typeface Aroma Bold and Lightfree. Inshe designed the alchemic typeface Tyde, the sans typeface Kohmar, and the free geometric sans typeface Aqua Grotesque that reminds us of the s.
Inshe designed the free squarish typeface Novu-M. American designer of Pipelinea modular plumbing-inspired typeface. Direct access. Orlando, FL-based graphic designer who created the Slutvetica poster in He also produced a typography booklet in This web site, related to Joshua Smith's Hydro 74 foundry in Orlando, FL, offers original creations, both free and commercial. They specialize in vintage signage type, display type, the Western look, scary typefaces, art nouveau, tattoo type, psychedelic and Victorian styles.
Type designer from Punta Gorda, FL, who designed an ornamental outline typeface in Inhe patented a squarish outline typeface. Miami, FL-based designer of the display typeface saint Sylvestre Tallahassee, FL-based designer of Dragonrune Creator of Laboura free horizontally-textured typeface.
Josh Wilhelm is an artist, musician and comedian who lives in Florida. It is possible that he also is a reverend.
His original type designs were presented at Spork Thug Typography. Some time beforehe moved to Life Without Taffy. Miami, FL-based graphic designer who created Rede Black modular display face in Creator of the stiletto-themed typeface Skeleton Key Creator of Under The Seaa slightly grungy typeface.
Creator of the art deco typeface Ryderwhich she calls a hybrid of Braggadocio and Britannic Bold. Ryder was developed during her studies in Sarasota, FL. She also made a condensed sans typeface called Camuswhich is named after the existentialist philosopher Albert Camus. Sarasota, FL-based designer of the display typeface Order This typeface was develope d during her studies at Ringling College of Art and Design.
She created the hairline sans typeface Satin Creator of the Cyrillic simulation typeface Menhir Jacksonville, FL-based graphic designer. He created the identity of Chevalier Bakery He created the display typeface Numetrica Sarasota, FL-based designer who created the teardrop script typeface Unicorn Penmanship in for a typography course.
Fort Lauderdale, FL-based designer of the modular techno typeface Omicron Located in Orlando, FL, Burnette b. Inhe designed MB Block Type. Miami, FL-based designer of Velaa display typeface inspired by sailboats. Augustine, Florida, Matthew Conner designed the display typeface Metaverse Mathhew hails from Orlando, FL. West Bradenton, FL-based designer of Dinosaurus Textwhich includes a set of dinsaur doodles for children.
She also created an icon set called Under The Sea Creator of the Victorian typeface Ephemere Megan Tamaccio [District 62 Studio].
Inshe added the brush typeface Halcyon. Her typefaces include Cherokee and Dashesdot matrix font. During her students in St. Miami Beach, FL-based designer in of a monogram typeface in It was designed as an easy-to-learn and simple-to-use alternative international alphabet. See also here for MesaAnalogMedium Michael Stacey.
ITC Wisteria is an exact reproduction of an alphabet design copyrighted in multiple through popular publications by Ross F. George, co-inventor of the Speedball pen. Saint Augustine, FL-based designer b. She created Pratt Slab ina slab serif with a wood style. Creator of the great experimental octagonal typeface Mobio Floridian designer, b.
Creator of the flared display typeface Diligent List of fonts seen at Disney. Subpage on pirate fonts. Milan Zrnic b. InMilan created Idyllcommercial sans serif font while in the Chank Army. InMilan created and released the free typeface Raedr. Creator of the thin monoline sans typeface Hilowhich was designed by merging Apex Sans and Museo. Creator of the elegant hairline sans family ULT Sans She says that, inspired by FF Milo and Stainless, it took her over two weeks of straight work just to get the beta out.
She also made the squarish stencil typeface SquareXthe mechanical typeface Incognitaand the semi-serif typeface ChanorSans Her latest: the gorgeous constructivist-marries-didone headline typeface Modern 9and Melora simple sans family in two styles done for Miphol Studio. Orlando, FL-based designer of Viewa curvy bold typeface to celebrate black graphic designers in history. Interview and discussion by Ayla Angelos. Aka mitch Robert Allgeyer's MusiQwik series of music fonts is now hosted by me.
InAllgeyer wrote: Welcome to my now-obsolete home page. In earlyI removed my web site from the Internet. I have done enough of it, and reached the stage in my life where I want to spend time doing other things. I have left this page for a couple of extra months, so that occasional visitors can find it, before I finally remove everything. My name is prominent on the Internet due to my music fonts, fiction, essays, and travel comments. However, do not confuse me with the Midwestern jazz musician, the artist, the dancer, or any number of others with my same name.
Inhe added NoteHedz. Designer of Cute Fontwhich was finished during her studies at Florida International University. Floridian web and graphic type designer. She created the leafy caps typeface Pavo STD This was a news design blog run by Friesen, a news designer at The Oregonian in Portland, OR, who has dabbled in daily newspapers for nearly 20 years. The page went dead some time in Designer in Jacksonville Beach, FL. Her work includes the decorative oblong typeface Petulia She is currently a freelance graphic designer residing in Sarasota, FL.
Nicole experimented with hybrid typefaces. Boston-based photographer and typographer who is studying at Ringling College of Art and Design. The letter Y inspired her to create the experimental family Weye Ninth North is a new design studio located in St. Petersburg, Florida. Florida-based designer of the techno fonts Eva 35 and Outsider Type and graphic designer in New York City. Inhe created Grail Grotesque.
Orlando, FL-based designer b. Free font Akira Mac. The other fonts are commercial. Mac only. Not top quality. Miami, FL-based creator of the free athletic lettering typeface SP Complexthe alchemic typeface RelicfreeChroniclea free hipster fontAofree hipster fontand Glyphsalchemic. Another Behance link. Brian Haines designed Matchbookretro sans.
Font Squirrel link where one can download Matchbook. Natasha Maria Fernandez-Fountain's home page. He made the experimental typeface Molecule Iconk is a set of icons for Android. Brocha is a free brush font, while Magnitude is a free sci-fi typeface. Behance link for OX Lab. Tampa, FL-based designer of the tall condensed all caps grotesk typeface Monos Student at the University of Tampa, FL, who created a decorative sans serif typeface in Parker Creative [Alan Parker].
Inhe published the headline sans typeface PC Navita, Versa Block elliptical sansDarla Script, Quantik, Provoke an inline familythe free squarish typeface Beepo, the sans family Greenstyle, and the free wide sans typeface Broadwell. Typefaces from Expat, Monarch North wide, with hatching as in money fontsVitala a workhorse sans. Typefaces from Riverwest, Cozee hand-printedDocket emulating a weathered typewriterGreenstyle, Street Cred font duoNew Adventures font duo. Paul Thompson Tampa, FL created a Smart Night poster in that seems to use an original decorative caps typeface created by him.
Graphic designer and typographer in Miami, FL. Behance link Creator of the beautiful Wood Cuts fontwhich attempts to simulate something cut out of linoleum. Illustrator and designer in Stuart, FL.
He drew a stylized Braille alphabet The oily typeface Tomstaint Mommy Dearest - Rosvo - Ticks And Ants (Vinyl) created by S. Kaltenbach at Flagler College in Florida. Aka Phipman, Philip Schlenoff b. Graphic designer in Miami, FL, who created a wonderful connect-the-dots typographic poster entitled High Society Floridian designer of the modern Tuscan typeface Monoslamwhich is inspired by The old Boston Redsox's Circus style serif font as well as Luis Hernandez's work.
Typefaces from Night Wryter, Meduza blackletter. Designer of the free outline typeface Flexion Other fonts include Arcadia a flared display faceChardonnay a vintage typefaceVyshyvka the Ukrainian word for embroideryGirlhood connected handwriting; its grunge version is called ShatteredSweaterVest a patterned wavy face.
Aka melita Signage business involved in truck lettering, truck decals, custom signs, vinyl lettering, pinstriping and font design. Located in Lee County in Florida. Their free fonts: ArmamentBlackchalk DownBumrushbrush faceDispatch Blackreminiscent of wood type, and Bajennasimulated brush face.
At Dafont, they use the name phallicymbal. For a period of time, he permitted distribution of his library to International Type Fonders, but now his fonts can be bought from MyFonts. The typophiles raised an argument about Sorayawhich seemed very close to Cirkulus Michael Neugebauer, Letraset.
Images of some of Nayeri's typefaces. The Prime Graphics typeface library. QJS Graphics is a design company, est. Creator of the techno typeface Quin Randy Ford Sarasota, FL has been designing typefaces since Inhe created Sporedom. Fontm link. Hialeah, FL-based designer of the hipster typeface Arqsquare Weston, FL-based designer of an experimental alphabet based on the emulation of letters on a CRT screen.
Rena Martinson. Rena's main contribution is to the icons and floral elements in Canvas Rena's Flowers. Honduras-born graphic designer and illustrator who is based in Miami. He created DMeshan octagonal or paper-fold typeface, about which he writes: In I came across a beautiful app called DMesh.
The program itself used Delaunay triangles along with a complicated algorithm to turn any image into a beautifully stylish work of art.
I got in touch with the creator of the app, Dofl Yun, and told him that I was interested in fleshing out a typeface inspired by D in the DMesh logo.
He was excited about the prospect of there being a proper typeface related to his app. Dofl gave me his blessing and the result was the project you see here. This information is copied from Richard's own site. Richard Fink is a consulting font technologist and developer focused on web fonts for multiple languages that look good on any screen and any device. His technical skill with fonts evolved out of his interest in screen readability and the revolution in human expression summed up in the title and tag line of his original blog - in what may have been the first time a web font - scalable, selectable, and search engine friendly - was used to brand a site: Encouraged by Microsoft's screen font innovator, the late Bill Hilland also Thomas Phinneyat one time a key member of the Adobe Type team but who is, today, President of Fontlabthe industry leader in font design and production software, Rich began blogging at Readable Web where, almost immediately, his insightful analysis of Microsoft's proprietary Embedded OpenType EOT web font format earned him a mention in web standards evangelist Jeffrey Zeldman's iconic book Designing With Web Standards.
Rich was also invited, along with other web Mommy Dearest - Rosvo - Ticks And Ants (Vinyl) visionaries like Dave Crosslandwho would soon become the driving force behind Google Web Fontsto speak at Kernest. Paul, Minnesota. Rich is also a frequent contributor to font-related online forums such as Typedrawersand the Google Web Fonts Forum. Rich has written full-length articles for the long-running web design publication AListApart.
As an activist, Rich helped push the adoption of web fonts early on in a number of ways. First, with his development of EOTFASTa Windows command-line tool for converting TrueType fonts into fully compressed Embedded OpenType EOT fonts in a way that avoided copyright or patent infringement of the Monotype Corporation's MicroType compression algorithm — a barrier that most in the industry at the time wrongly assumed was insurmountable.
Even today, with many other TTF-to-EOT conversion options available, the carefully researched documentation that shipped with EOTFAST - remains the best literature available on the subject and is still being referenced and recommended by font makers today - 6 years and counting after it was published! Then, in collaboration with designer Garrick Van Buren founder of Kernest.
More recently, Rich has been involved with quality control efforts at Google Web Fonts with a focus on best practices for font construction, the development of advanced multilingual HTML web font test pages, Python-based font testing tools, and a new taxonomy for font character sets. In keeping with the general move away from dedicated blogging sites, Readable Web is now static.
Augustine, FL-based designer of the arrowed typeface Sharp Turns Renowned calligrapher, carver, designer and sign painter who has been involved in the sign industry over twenty years.
A frequent contributor to SignCraft magazine, he is probably best known for his slate carving techniques. Roger Black. He was a major partner in The Font Bureau, Inc. Inwith Eduardo Danilo, he set up Danilo Blacka publication consulting firm. Cofounder in of Type Network. Read about the whole process in this piece by Indra Kupferschmid. Page specially dedicated to DJR Forma. His current interests include web typography, typeface delivery for the web and small portable devices, newspaper design, and newspaper web design.
Roger W. American designer, b. He also lived in Wildwood, Florida and Rushville, Indiana. Poster by Ashley Donahue Typographer, designer and journalist educated at Indiana University, where he has been teaching typography since He has been graphic design consultant since Russ Ward is the Orlando-based designer of the RussMusic music font. PC Beach, FL-based designer b. Inhe made the Western style slab serif typeface Bottoms.
Inhe designed Grunge and explains: Grunge Bold is based on the distorted font used by MTV mainly on Minutes from approximately I've spent a long time piecing together multiple sources recordings of Minutes, etc.
FontStruct link. Graphic designer in Lake Worth, FL. Creator of Pretentious Hipstera rhomboid typeface. Ryan Martinson [Yellow Design Studio]. American designer of Blocks As a student in Odessa, FL, he created the display typeface Vicey Born inRyan Tempro St. Augustine, FL created the experimental shadow and light typeface Fragment Young man b.
Sabrina Mariela Lopez [Typesenses]. American designer of the modular futuristic typeface Above Earth Miami, FL-based creator of the display typeface Bloom He made the ornamental typeface Chronograph Sarah mixed Aspect and Neutraface Slab and created a mutation called Primavera Graphic and web designer in Orlando, FL, b.
He seems to be located in Cali, Colombia. At least, the Sebastian Mejia in Cali designed the decorative typeface Inspira Aka Serena Kittehpawz. Floridian designer b. Tampa, FL-based designer of Aussie Grill TypeRetroactive a hand-drawn retro grunge font and Slimey slimy social media icons. Gainesville, FL-based designer of Agencya high-contrast all caps sans typeface family and Diamond Typedecorative caps.
Tampa, FL-based designer of the frilly display typeface Prida Sarasota, FL-based designer of Neverlanddisplay typeface. Orlando, FL-based designer, artist, writer and seamstress b. Augustine, FL, Sierra Thomas designed a modular hexagonal typeface Floridian designer of Neo-Punk Handwriting Florifian designer of Neo Punk Handwrite Stormlaks, IA,who has reengineered most of Monotype's and Adobe's fonts in the s. It was not a foundry, but copied fonts. Incredibly, the Postscript versions came without AFM files and were thus useless.
Apparently, the kerning present in the TrueType versions or the IBM PostScript versions is the pits, so the whole set is worthless, and proves that King, who is being sued by Adobe, knows nothing about fonts and does not care about quality. Paul King was condemned in court in February for violation of copyright. King's legal troubles continued on another front: he was arrested on July 2,for allegedly paddling a child so hard he left bruises. In all, he faced eight accusations of alleged child abuse.
The trial started in August He was convicted in November and was sentenced on December 30, On December 31,Paul King was sentenced to three months of jail term see also here. SSi ceased operations. Larry Tate retro. Florida-based designer of Paint Penthe art deco typeface family Multiplicitythe monoline typefaces Crispy BaconToasted Marshmallow and Cozy CapsShadow Linesthe display typefaces Buttered PopcornLove You Lots for Valentine's Day and Elementary Schoolthe monogram typeface Patterngramthe upright script Indulgencethe script typeface carefreethe display typefaces Georgia Bound and Dessert Firstand the bilined typeface Double Vision Stella Roberts [Stella Roberts Foundry].
Stella Roberts Foundry [Stella Roberts]. Type designer in Sunrise, FL, who created a coop style foundry for a charity that pays for the medical bills of her siblings. The list of typefaces: Ali SRF By Ray Larabie. Austrual SRF Public documents show the wealth manager Vaneck has applied for an ethereum based exchange-traded fund ETF. Ethereum for Architects and Developers was published by raychang on Top 5 Turnover. Ethereum can be traded at several different trading platforms, cryptocurrency exchanges, and DEX swapping platforms Frankfurt am Main www.
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So ternarios definicion. However, these are more than mere divertissements, as they are an integral part of the world that is being made.
It would be interesting to see how this interplay between naturalism and vaudeville evolves in a full-scale production, so I hope this show reaches the next round of development.
It tells the tale of Siamese twins, separated at birth and reunited in a Tiki bar where burlesque acts are indistinguishable from the extraordinary lives of the artists who inhabit them. The show has powerful themes, yet the pleasure, skill and showiness of the circus sweeps around these, giving us a sense of being at some kind of fabulous cabaret, rather than at a serious piece of theatre. At the same time, because the characters are performers in a Tiki Bar, the circus skills are to some extent, though not completely, motivated actions within the narrative.
It is not hiding the narrative, it is exploding from it! This show totally up-ends the idea of reality, and inspires audience members to question the very notions of place, presence and identity, all the while convincing us that we are in an escapist dream.
Pure spectacle is the essence and the trump card of this show. For example, a group of women watching television perform a chorus of naturalistic movements which build to become spectacular acrobatic tricks. This allows the skills to be interwoven in the piece, and yet emerge in key moments of strong spectacle. These function much like music in a film. They heighten the audience response to each scene, and occasionally provide an extended exploration of its emotional heart.
Knee Deep, by Casus, is a unique work, inspired to some extent by the work of Circa, in that it combines highly athletic circus with a pared back aesthetic. Casus does, however, bring something new to the table.
Over the course of the piece we see distinctiveness and quirkiness emerging from each of the cast members. As a framing device, the egg also reminds us of the fragility of life and creates a striking juxtaposition with the strength of the circus performers. This show has a light touch, and invites us into the world it creates, yet, at times, as with many of the pieces discussed, often opens up moments for the celebration of pure circus acumen.
Individual acts climax with great skills that seek, and receive, applause. In the context of this show, these spectacular moments are triumphs over the fragility of human existence.
These works demonstrate that circus, even when it is presented, arguably, as skill for its own sake, is always doing more. Circus is much more than a trope or a narrative device.
Ultimately, circus-based theatre makers draw from all of these inspirations to create their work. First, and foremost, they select circus skills ipso facto, for their own sake. Circus is the form from which all else follows. Blindscape, PACT, Sydney, June and touring throughout ; The Lost Act, presented as a rehearsed reading inis scheduled for development in ; The Rat Trap premiered inwith further seasons in ; Knee Deep is touring internationally this year.
Five sets of clothes lie at rest on the extended strip of white floor, the fall and crease of polka dot skirt differentiated from the over-patterned confusion of an Hawaiian shirt and the bold stance of red overalls.
Are they garments in waiting for their danced transformations? Bottom-drawer memories saturated with faded desire? The assorted fabrics signal such ideas while announcing the arrival of the ordinary.
Slippage occurs as young people appear, walking effortlessly into a dance of gesture and imaginative play in which intricate story-threads weave a cloth of reflection and memory. These ordinary people morph into magicians of performance who wear unstable identities of the everyday with the privileged audacity and awkwardness of youth.
Whether intentioned or the result of investigation with the dancers, choreographer Sue Peacock has guided the construction of Reflect with a canny attention to how age shapes and is shaped by the human potential to reflect upon actions, feelings and the puzzling collisions of identity across time. A more established group of performers would wear and shed those sets of clothes quite differently, exuding nostalgia or unwanted beasts to banish into forgetfulness.
His Hawaiian shirt speaks volumes, its imagistic loudness at odds with his unassertive performance character. To gain some idea of the reflective nature of choreographic and character construction, the overlays of scenic design need acknowledgement. Dancers on stage, their dark and looming shadows and the light-washed projections of the same personalities in rehearsal inter-reflect, jostling like random memories for attention.
Indirect pulses of recall slip between present and past. Shadows, which in the everyday imagination are insubstantial, acquire indelible definition, at times blocking the dancers and their filmed reflections. The signature Peacock structures arise and dis-assemble across time, with motif and fractional patterns playing games of intimacy and rebuttal within and between the members of the group. For example, the head lifting of another elicits a gesture of compassion which shifts and belongs, fleetingly, to each and every individual.
Against that shared response their common humanity? In this way, Peacock opens readings of her ordinary grouping of young people to fluctuations of manipulated movement which align with human emotions and the scenographic composition.
Mommy Dearest - Rosvo - Ticks And Ants (Vinyl) and elusive sensitivity alternate, like the presence and past that drift through the performance.
Each performer possesses a personality but that personality is multiple and is subject to changes of clothing. Reflect emerges like a fantastic hall of mirrors onto the white and blank canvas of its floor. The telling reflection lies in its capacity to reveal the magic of the ordinary. I think it does, quietly and subtly. The measured toe-tapping, the headshaking hand-flapping. Compared to clockwork more than once. Trio A keeps on going steadily, evenly, and never repeats.
Its movement vocabulary—stepping, swaying, bending, rolling over—looks a lot like everyday movement. Artist Sara Wookey is one of five people vested by Rainer—certified, Wookey says—to perform and teach the four-and-a-half-minute Trio A. In Sydney, Wookey explains that it took Rainer six months to make the work. Learning it is challenging, because even the gaze is choreographed—though it is intended that even non-dancers could do it.
Trio A and Judson Dance have considerably influenced contemporary practices internationally, including Australian dance and performance art. Her performance of Trio A is as precise as that implies. Wookey manages her timing perfectly: both dance and music wrap up at the same moment.
This version, presented in exactly the same way by Wookey, now suggests, with deadpan irony, the funkiness of 60s popular culture. The sight of a frigate bird trailing videotape first excited but then disturbed Ponifasio as he reflected on the floating islands of pollution in the Pacific Ocean. Hence a recurring black and white projected image of a large bird struggling in oil spill. Initially the footage is barely glimpsed; by the end it plays at painful length.
But this is only a very small part of a work in which a series of images unfold, for the most part slowly on a broad stage against a reflective wall of dark, softly shimmering, silver material. A bare-chested man on the other side of the stage ripples his abdominal muscles. The two slowly exchange positions. She lies down, the light turning her golden until she appears to be become nothing more than glowing embers.
With enormous force the man repeatedly slaps his chest and bends slowly backwards, later dipping at the knees, arms extended, and becoming birdlike.
He then disappears into the dark to the sound of a rumbling ocean. What is left is a profound sense of the ephemerality of the body, whatever its cultural or species manifestation. Other images unfold: shaved-headed monk-ish figures in black speedily glide about the stage, hands articulating Pacific dance gestures, bodies swerving away from near contact like circulating atoms or birds in formation, suggesting lives micro- and macro-cosmic and worshipful, if it at times martial.
Three women sing like sirens. We glimpse a projection of the moon landing of Three women dressed in black expertly twirl bright white poi in increasingly complex patterns, their three-dimensional depth conjuring DNA helixes. Crowd noises wash around us. The bird struggles. A huge centrestage shaft, angled at 70 degrees and symbolic perhaps of built civilisation, slowly surrenders to gravity.
Birds with Skymirrors is a sombre, haunting creation, sublime in its otherworldliness, but it brings us back to earth with a sense of the endangered wholeness of nature, conveyed by disciplined performers who embody the traditions of the Pacific, not literally—the choreography is not specific to any one culture in the region—but with powerful, rhythmic certainty and a sense of transcendent poetry.
And without the dance steps we know only too well. What is in decay is a sense of the work as stable, regardless of digital readouts that tell us roughly where we are in the narrative. Classical ballet movements and flourishes suddenly flower with their inherent sense of display but are juxtaposed with or merge with their contemporary opposites—jagged, a-linear movements and self-contained entanglements of another order of beauty.
Roles dissolve—various Giselles and Albrechts suggest opposing states of being ranging from abject to comic, and at all times driven. There is nothing careless about the ballet steps woven into G. In this case, I think the people of Canberra have taken up the blueprint and used it. Terrific reference points all over the place. Street Swags are made by Jean Madden in Brisbane in consultation with homeless people. Archer is especially delighted by the success of Parties at the Shops.
Well, it was unbelievable. I visited 17 on the one day. In Yarralumla, the residents had a dinner. There were people sitting outside under the trees eating and dancing to a Zydeco band. The one at Watson was similar with about people. But what was so moving was a really tiny place whose one shop is a graffiti-ed convenience store. Two hundred and fifty people had a barbeque, double garage doors rolled up and DJs playing.
So as with the best festivals, you get to explore the city. What I did was to look at what was on the cultural calendar already, make people aware of that but then plug some of the gaps and introduce some new ideas.
There are so many conferences on and, to my chagrin, so many opening or closing on Saturdays and Sundays. So many organisations chose to have their national conferences in Canberra this year. Archer has to make many an opening speech during Canberra Science is a significant component of Canberrain Science Week and beyond. This is again about Canberra as a resource.
Wesley Enoch did a great job on that of telling the story very, very honestly. He provided just a beautiful simple, screen-based background for traditional performers to bring their story down for the first time. She has a studio at the Canberra Glass Works.
This celebration is about a young singer like Anita Barlow and established ones like Dale Huddleston and his family. Get out and do [Canberra ] there. The second day is given over entirely to younger groups—particularly those who are using cultural pathways for activism, artists like Warwick Thornton. Others like Tim Goodwin are going inside. He was a Fulbright Scholar. So, many, instead of demonstrating on the outside, at the fringes, in the street, are coming into the professions, getting all the craft and skills and doing it that way.
Big hART have been working mainly with young kids and really looking at a very optimistic future. Whatever happens the kids will take it on, bring it on. One presumes that necessity will be the mother of invention.
The issue of the future was addressed by offering landscape architects the opportunity to imagine a Canberra of the future in the CAPITheticAL design competition. She points out that for many of the entrants sustainability and a sense of democracy were high priorities. Second prize went to the quite beautiful if equally disturbing Sedimentary City Canberra, aerial views of city and surrounding landscape into the future.
Canberra-born visual artist and sculptor Patricia Piccinini has strikingly realised a melding of past and future in Skywhale, a full-scale hot air balloon in the shape of a recognisably Piccininian hybrid, here a multi-breasted, benign maternal mammal, lingering contemplatively over the Australian landscape—evoking both ancient mother goddesses and evolving mutancy.
Not surprisingly, Skywhale has been greeted with both repulsion and fascination, and some nonsensical and censorious politicking. Festivals that celebrate the past certainly sustain and reinvigorate legacy but unless they have vision, asking where are we are now and where are we going, and demonstrate these—they will have no legacy of their own to bequeath to future generations. Robyn Archer has built a centenary with an eye to the future.
For the program for the next six months of the Canberra Centenary go to canberra It is also one of the most disturbing, described by one writer at the time as having an effect more emetic than opiate. That might seem like an exaggeration now, but doubtless the play still has the capacity to disturb us deeply with its account of two poorly treated maids who are sisters play-acting their way to murdering their mistress.
The language and the action in The Maids are intensely physical, the play is hyper-theatrical, ritualistic, shocking. Where does that come from?
One of the foundational actions of theatre and—speaking as an ex-Catholic and altar boy—of the Catholic ritual and mass is the transfiguration, the alchemical change from something that is shit or dirt or that is nothing more than a wafer and some wine into something that is glorious. But in Genet that mass or ritual always has the energy of perversion about it.
The Maids is maybe the purest of his plays. Why did these two women in The Maids invent this game? There are two of them, not one. And somehow from this incredible need and this crisis, they have to invent theatre. It becomes murderous. They invent the idea of murder in it. Somehow the idea of the revolutionary in it has dated. The interesting thing about re-reading The Maids is recalling the shock of that first read back in the s. The script exudes suspense, brutality and a fearful intimacy around a fantasy that is set up, undone and set up again until reality and psychosis finally undo it altogether.
How do you create an intimate space for that in a large theatre? But many of those things you just listed, we have! In both the screens were not decoration but part of the works. We have Pantrax zoom surveillance cameras again, studying actors, filming them.
Once upon a time having a copy of a bourgeois apartment sitting on a stage in a little box would already give you that box within a box. Then you have noir and the thriller of hate. And underneath an incredible love story of these two orphan sisters and their incestuous relationship.
It really sets us spinning. And Andrew Upton and I have made a new, quite direct version of the translation. The Maids is a kind of failed revenge drama. The sisters build up the energy of Furies in Mommy Dearest - Rosvo - Ticks And Ants (Vinyl) drama but they fail.
If theirs is a love knot, two sisters, it is already a taboo love, again a Greek theme. That whole farce of that society, that whole lie, keeps going on. Now they have to face each other and the trap in a new way.
How can we go on together, how can we go on apart? And the act of love becomes: should one kill the other? Mommy Dearest - Rosvo - Ticks And Ants (Vinyl), Tokyo. The temples remain but the modern skyline grows: The Tokyo Skytree is the tallest building in the world; and Asahi Art Square, host of the Azumabashi Dance Crossing showcase, makes up for its smaller stature with an ostentatious tear-drop sculpture on its roof. The evening began with dance from 21seiki Gebageba Buyodan.
Subtle changes in pace built a tension that was sadly cut short by the allotted 20 minutes. Kiguchi himself is called centrestage where he receives a shocking slap for said navel-gazing. The offering from Toukatsu Sport was just as fractured in its conception. Before we enter the apartment of the sitting-room drama the strings of the soundtrack are faded out and replaced by House beats, the film replaced by turntables, and two women who walk on stage dressed in hip-hop bling, carrying stuffed toys.
Images alternate between Carnage, turntables and traditional rakugo pithy anecdotes laden with puns and comedy. Language barrier aside—even the Japanese around me were struggling to keep up with the speed of the dialogue—it was enthralling to watch the English, American and Japanese story-telling in mash-up.
After the interval, the band core of bells opened our ears. When a young man walks into a convenience store to trade in his soul for a new one for Y he is invited to play guitar in a noise-band whose frontman is a growling Shinto God. The difficult joy of ADX is having all these artists brought together but being unable to create or comprehend a super-narrative.
His company, Mum and Gypsy, has been focused on a form of post-dramatic theatre since its formation in DLC tells the story of a kidnapped girl from the perspectives of three characters. The actors hopscotch around lines created with masking tape.
It has all the uselessness of a game, but perhaps, as Mr Sakurai suggested, there is a potential usefulness in the futility. We were also better educated and we realised that the things that bothered us were not just going to go away. Their most recent work, Best We Forget, is an irreverent look into our fear of being forgotten and our ongoing struggles to remember. The show begins as a panel discussion—three performers outlining their personal interests and specialties in relation to forgetting.
At some point the actual show begins to forget itself…The panicked personas then try desperately to reassemble the panel, while looking into theories like the Ebbinghaus Curve of Forgetting of which the show fast becomes an example. Our drive is to question these things with an audience. Leong has kept moving through identity positions as a performance maker. Now she feels drawn to look at her own Chinese heritage and into the work of Chinese artists and Chinese-Australian artists who generate work from their family story.
All things need questioning when one makes work—privilege, ancestry and gender. But there are other questions as well. This is important to me as a person and as an artist. Emma Beech grew up in country South Australia. When I made theatre I always thought about my brother, who had never been to the theatre. What would he want to see? The Australian Bureau of Worthiness started with Beech wanting to interview people on the street about their lives.
It always seemed different from what you see on TV. I wanted to know what people were doing privately because I spent so much time in private experience. I was hoping there was a shared human experience. I have always wanted those conversations to be had. Her friend, director Sarah John, advised her to ask only one question.
The three are invited into communities for short periods of time. They go out into the streets and ask the people they meet the question. Then they do a performance for the community. I also tell stories about what people said and did outside of the conversations on topic; what people wanted to talk about.
We present the gaps between what we expected or were led to believe and what we found and learned, between the story the town presents and the stories we hear and find. Tessa Leong says that working with Emma Beech in the Bureau of Worthiness changed her practice with isthisyours? Her definition of audience changed along with her understanding of the transaction possible.
We find inspiration from other female artists and now have access to them and their work—Sophie Calle, Guerrilla Girls, Chicks On Speed, Marina Abramovic starting your own institute is a great way to write yourself into the worldTracey Emin—I love their fearlessness and furore. They make up new rules. Women are freer in many ways but there is still much that is not allowed. Emotional isolation for both women and men is a very present part of our world.
I see so many women in theatre audiences. So where are the men? If women are going to speak, where are the men who will listen? I am curious about this. I keep thinking about that. She has worked in visual and physical theatre with independent artists and small companies Terrapin, Snuff Puppets, My Darling Patricia and was co-founder of the award-winning Eleventh Hour Theatre.
Well, not quite. Because of a physical indisposition, the soprano Lucinda-Mirikata Deacon sings from a window above, while a dancer Maya Gavish performs the two roles onstage. This contextless ramping up of the Oedipal drama and the intensification of its associated imagery—Kundry as seducer, lover, corrupter and, a non-Wagnerian addition, mother-to-be in a deliberately gross fat suit —is further amplified by action in which the repressed is unleashed as violent action.
The excesses of Climbing Toward Midnight are many. Another layer of complication comes in the form of fragments of poetry by the German Expressionist poet Georg Trakl, difficult to absorb, let alone read through the haze that obscures surtitles placed behind the action. Had Lucinda-Mirikata Deacon not been replaced onstage by dancer Maya Gavish, doubtless we would have seen, and especially heard, a very different Climbing Toward Midnight.
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