Tyrone and Lesley in a Spot
Megarrity, David, Sibthorpe, Nathan, Vincent, Samuel, & Green, Kellee (2016) Tyrone and Lesley in a Spot. [Inter-arts]
There’s no one way to create Composed Theatre. Innovation and reinvention are its hallmark. Music calls the tune, but no one artform need necessarily lead its intermedial dance. However as this new field comes into focus, it is possible to divine certain essential moves. How best to locate, capture and identify them? From within creative practice itself.
Tyrone and Lesley in a Spot is a 60 minute intermedial show combining music and screen in performance. The project had a very musical question at its heart: ‘can a whole show be like a song?’ A collaboration between a writer/musician/performer, video artist/writer, and musician, the project employed the performance personae of Tyrone and Lesley in developing a new work of Composed Theatre. Ostensibly a concert presentation of original songs, the performance progressively revealed its playfully covert intermedial complexities in a poetic and humorous show which was described as ‘a unique piece of theatre…a performance that knows it’s a performance’ (Sullivan 2016).
The practice led research took in two phases of artistic activity: Creative Development, culminating in a work in progress showing in late 2015, and Devising Rehearsals towards a public performance in 2016. The project began as a pure creative development, with no particular performance outcome in sight. This scattered, part-time collaborative process happened in person, on paper and virtually over six months in 2015 at Metro Arts, a multidisciplinary arts organisation housed in a heritage-listed warehouse in central Brisbane. This period of writing construction and experimentation culminated with a work in progress to a small invited audience. The work was then selected for the Queensland Cabaret Festival at the Brisbane Powerhouse and premiered in June 2016.
The artists engaged in a hybrid process which traversed writing, design, filmmaking, composition and performance. In a highly musicalized process led by form rather than content, narrative was allowed to emerge rather than being predetermined. These strategies enabled distinct discoveries around principles of performance making in Composed Theatre, bringing a quality of process to a product in which an attempt at spectacle itself can become the spectacle.
In this research, work was characterized by a distinct provisionality based in a dialogue between plasticity of structure in the writing, and plasticity of form in the making. The creative play and discovery was identified as ‘within domain’ (Katz and Gardner in Hargreaves, Miell, MacDonald, 2012: 110) firmly locating it as a project of Composed Theatre Axial thinking (Eno, 1998) informed the development of a series of intersecting continua which shaped the construction of critical moments of the performance.
The performance was noted by Katherine Sullivan in thecreativeissue as a show that ‘doesn’t try to hide anything… [and] combined music with moving images to create a cabaret show that is … absurd and very charming.’ (2016) Rhumer Diball pointed out that ‘Sibthorpe’s projections were used not only as accompaniment, but as a third character’ (2016)
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|Item Type:||Creative Work (Inter-arts)|
|Funders:||Australia Council for the Arts, Metro Arts|
|Measurements or Duration:||60 minutes|
|Number of Pieces:||1|
|Divisions:||Past > Schools > Drama
Current > QUT Faculties and Divisions > Creative Industries Faculty
|Copyright Owner:||2016 David Megarrity|
|Deposited On:||05 Sep 2016 02:21|
|Last Modified:||23 Nov 2016 18:49|
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