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The Obcell Fiona Malone & Fourbux Progressive Theatre State Theatre Rehearsal Room Season closed One of the highlight dance performances in this year's Fringe is Fiona Malone's 'The Obcell'. More than just a solo dance, but a three hander, incorporating dancer, sound and visuals. Technology and performer are equal within the production; in 'The Obcell', it all works as a system, each interdependent on the other. With sensors on his body, the performer, Ninian Donald, creates the sound imagery through his movements, sometimes numerous sounds culminating in a frenzy of abstract noise and movement and sometimes only the sound of footsteps created from his walking fingers. As you watch Donald, you become increasingly aware that he is controlling the sound through his body movements but in order to make these sounds he must perform precise actions, usually through his fingers. Visually, 'The Obcell' is just as interactive with the performer as the sound. Through multiple cameras aimed at Donald and two attached to his body the background to this cell is a concoction of either Donald's mirrored movements or computer generated imagery supporting his movement. The opening sequence with Donald rolling on the ground and the two mirrored projections of his body as he twists and torments himself is an example of just how visually clever director/choreographer, Fiona Malone, and new media artist - video and technology, Patrick Potter, really are. Finally something must be said about Donald's extreme performance. His energy seems never ending as you painfully watch when electricity is pulsing through him. But his severe performance really does bring you to think of how torturing confinement could be. |
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