Otherworldly shamanistic intensity, dangerous sexual fantasies and dreams caught in a pile of bras set the stage for three solo dance and interdisciplinary works-in-progress: Cynthia Berkshire's IRIS gets ready for her date, Karen Bernard's Ouette | (o' et) and Jil Guyon's Mysterium.
In her darkened bedroom, the character IRIS questions herself and her purple bras as she prepares for her upcoming
date. Moving with a raw and at times disturbing force, IRIS gets ready for her date is a movement theatre work with visual
projection and original soundscape. The project, reflecting on whether women give up and/or gain something in appealing
to men sexually, begins with the premise that an enigmatic inner world is in charge. Light and shadow merge in this
mysterious realm, and the awkward, confused IRIS discovers something about herself.
Ouette | (o' et) is loosely based on the François Ozon movie Swimming Pool. Bernard's character parallels the film's
protagonist, an elderly English novelist who becomes involved in a dangerous sexual fantasy that is part her fiction and
part her desire. Using a laptop and projector, different spaces evoking the imagined and real experiences are created.
With video footage of floor tiles, patterned fabrics and human silhouettes, Bernard creates a heightened film noir that is
quickly fractured by the non-performative technical tasks of manipulating the laptop and projector.
In Mysterium, a stage covered with red velvet is the setting for a performance-ritual that combines movement, voice,
sound, music, light, ashes and fog. The performance features a young girl in a white dress lying at center stage. Around
her a woman performs a series of gestures with shamanistic intensity. Her physical presence ranges from gracious to
grotesque in contrast to the girl's eerie stillness. Simultaneously primordial and apocalyptic in its
otherworldliness, Mysterium is a richly textured, gradually shifting visual landscape evocative of innocence, pain, sacrifice
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