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Premièred in June 2009 at Dartington College of Arts Festival, was the performance selected for In The Flesh performance festival in Plymouth, 2009.


Descending together on a durational journey of no apparent return, or distinction between each other as audience and performer, all participants enter the site of performance.


Performers then begin move away the public, from the familiar and the everyday, descending further into a state of affliction and distress, crossing the boundaries between their identity as public, as performers and as the anonymous. 


An exploration of the conscription and packaging off of young men and women from around the world to fight wars over that which they have little personal connection with.


The transformation from brother, sister, son, daughter, friend and family- from ordinary civilian- to a weapon of war.


The affects of prolonged internal narrative expressed through performance in a confined, oppressive environment.


The conflict of their own turbulent past played out in the immediate conflict they are experiencing.


Suddenly, in the very thick of performance, there is a realisation. All performers tear the nightmare world apart, awakening from their trance-like state, the transformation is complete.


Both audience and performer lead the way out back up into the outside world from whence they came, but to no certain future or direction…


The original performance was durational, as aforementioned, and was performed in a pre-prepared environment set up two days before the performance.


Given the prolonged containment of this piece and the intensity of subject matter we would request, if it were at all possible, for the performance to be staged in a separate room rather than a studio where audience could come and go as they pleased, with seating for those who want to stay and engage longer with the performance.


Considering the technical equipment used and to be requested; No stage lights are necessary; the darkness of the room was intentional as we wanted to limit the vision of both performer and audience.


All artificial lighting will be provided by us with torches, lamps and flash photography being the only sources of illumination. If possible we would request the use of two video players and televisions in order to show two films, one of a performance in London and one of the first performance of FRAGILE:RAGE, framed within the second performance at In The Flesh.


The first performance also involved the audience taking one disposable camera each in order to take photographic documentation of the performance, leaving the cameras behind as they left the room for us to collect at the end.


The flash photography also provided brief lighting in an otherwise darkened room. We would buy the disposable cameras and arrange their instructions-of-use and their re-collection after the performance.


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