Shadow
House PITS
is offering two new innovative works in 2012. The first of these is Our
Lady By The Beach Over The Sea
involving operatic influences and image theatre! This work is a
direct continuation of innovative practices going back to 1980.
Anyone with an interest in theatre that is slightly off the planet
yet emanating from within the human condition cannot miss Our
Lady By The Beach Over The Sea.
Later we
will present The Trinculo Chronicles
(audience by invitation only).
What is
it all About?
Our Lady By
The Beach Over The Sea is the
latest offering by Shadow
House PITS.
It is about the deceptive nature of dreams, illusion and idealism
compounded by artistic inspiration. The narrative deals with a
meeting between an aging man and his muse of fifty years earlier;
that woman he painted, wrote poems for, and then waited a lifetime to
recover her love. But his meeting uncovers an unexpected and yet
revealing aspect of art and dreams. The world of the sea and the sand
where they meet is not a static or balanced universe but rather is an
uncompromising clash within nature.
Referencing
John Keats' poems Lamia and The Fall of Hyperion and
utilising spoken text, music, operatic voices, Butoh dance, image
theatre and digital video Our Lady By The Beach Over The Sea
will stimulate your dreams and challenge your known world.
As with
all Shadow
House PITS work,
there is a Jungian basis for the intent, origin and structure of the production.
SHADOW
HOUSE PITS is
Canberra's leading experimental theatre offering an alternative
laboratory and performance arena utilizing drama, dance, digital /
photographics on-stage, on-screen, on-line to explore the psyche of
culture. It began in 1995 under the name PITS Productions and became Shadow
House PITS
in 1998. However, its genesis goes back to 1980 with the partnership
of David Bates and Joe Woodward and their innovative production of
Don's Party in dinner theatre at The Park Royal to an audience of
over 6,000 people. The operation of PITS Theatre and Bar between 1981
and June 1984 saw over 27,000 people pay to attend theatrical
presentations and over 43,000 to attend live music performances. It
was highly unconventional theatre to say the least.
Walk-outs
from more traditional theatre goers, along with sporadic violence
towards staff and actors resulted during some PITS' offerings. Still,
audiences came and performers got paid. Both Bates (now the owner and
operator of The Famous Spiegaltent)
and Woodward continued to develop and present innovative more
imaginative experimental offerings; though in vastly different fields.
Woodward's
work as writer/director with Human Veins Dance Theatre resulted in
the highly successful though controversial Eclipse
'86 choreographed by John
Salisbury with Don Asker as lead dancer / actor. His Acting
Artaud presented at The Street
Theatre and The Seymour Centre in 2004 resulted in requests from
students and teachers at Universities and colleges throughout the
world seeking assistance with their own understanding of Artaud's
work. Theatre In A Car presented
in association with Jorian Gardner (2007, 2008, 2009) opened new
theatrical possibility in Canberra.
Trinculo's
Shadow
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use theatre to explore the human condition
venture into the very psyche of
cultural and personal expression, and
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mysteries of life and social/cultural interaction.
