Encoded

Image credit: www.riversideparramatta.com.au

Encoded is a revival of the astonishing work directed by David Clarkson and choreographed by Paul Selwyn Norton, originally performed at Carriageworks in 2012. This October, it was presented at Parramatta Riverside as part of the Form dance series by Stalker Theatre.

Described as a ‘meditation of fragility,’ Encoded is a strange, haunting blend of dance and technology that is futuristic and mesmerising. It creates ‘an immersive aerial dance installation and performance that uses the latest interactive technologies to build a projected digital environment.’ Images dissolve and reform as the performers sweep across the space, with digital technology designed to ‘responds to the movements of the performers.’

While cold and abstract, it is simultaneously powerful, futuristic and hypnotic, as if the dancers have become enmeshed in the computer world and at times it became quite trance like.

It challenges our preconceived ideas regarding digital media, dance and the body. Selwyn Norton’s very demanding choreography incorporates everyday movements and develops them, for example the simple act of walking.

Some of the lifts were most unusual and the partnering challenging, with unexpected and unusual balances. Dramatic aerialist working with straps were featured and at one point the cast was seen ‘flying’ into the audience. They also appeared to walk on the walls and vanish optically into the projections.

Norton’s choreography is performed fluidly, with enormous control and precision, incorporating martial arts-like acrobatics, yet remaining coldly abstracted as the cast performed with ‘neutral’ expressions. The performers hung like sleeping bats, resembling sides of meat. They curled and rolled, performed handstands, and used the aerial strap as a neck rest. They soared, twisted, unrolled with a snap, performing dangerous headstands.

In another of the aerial acrobatics sections, the cast was positioned horizontally, looming above the stage. Stylistically, a section was quite reminiscent of Bonachela’s work, with a later section resembling Wayne Macgregor’s.

Peter Kennard’s soundscape throbs, thrums, pulsates and electronically beeps and crashes, and Mike Smith’s lighting was eerie and ominous. The stage was stripped back to the bare walls and ‘corridors’ of light were used most effectively. Wonderful projections looked like the inside of a computer or swirling, dusty stars and galaxies. At one point, with bleak, spare lighting, the cast were caught frieze-like against the wall. Later, dandelion like patterns appeared in the lighting, followed by another section with long sharp thin lines, then projections that resembled a studded wall in a lift. Eventually, a blank wall with dotted squares appeared.

At the beginning and the conclusion of Encoded, the cast wore special ‘virtual costumes’ that appeared heavy and cumbersome. Viewed from the back they were amazing, with special lighting headgear and computer props transforming the cast into insect-like alien beings. For most of the performance however, they wore grey sleeveless tops or casual t-shirts and leggings, later removing the pants to reveal underwear-like costumes, giving a short leotard-like line.

The interactive, fluid simulations on the back screen were triggered by the infrared tracking of dancers and aerialists. They also used some very sophisticated VJ software to capture the wall they performed on. The mix of technology and the wonderful virtual costumes, complete self-mounted laser projectors, meant that performers continually changed before your eyes.

Rating; 4 out of 5 stars

Encoded
Conception and Direction: David Clarkson
Choreographer: Paul Selwyn Norton
Cast: Kathryn Puie, Joshua Thomson, Timothy Ohl, and Miranda Wheen.
Digital Artists: Andrew Johnston Alejandro Rolandi, Sam Clarkson
Composer: Peter Kennard
Costume Designer: Annemm Aree Dalziel
Multi-media Dramaturg: Kate Richards
Lighting Design: Mike Smith