Gravity Feed
Gravity Feed Performances About Gravity Feed Media Contact News
Gravity Feed Performances About Gravity Feed Media Contact News

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Reviews: [an error occurred while processing this directive][an error occurred while processing this directive] TABERNACLE, Sydney, 1999 [an error occurred while processing this directive] "Gravity Feed perform their latest work in the realm of geometric abstraction. Their stage is the sheer plane of a parking lot, their theatre a tabernacle of red cloth stretched into mobile walls, organised into a shifting geometry that divides, subdivides and multiplies in a labyrinth of spatial refraction. Their ceiling is an open sky. Space itself is removed from its stable and stabilising function, made fluid and unpredictable and the audience is caught out, pushed and pulled as the world around them undergoes constant adjustment, redefinition, mutation. The experience it produces is one of radical dislocation in which the dark and anonymous retreat of the spectator is constantly invaded and transformed into the brightly lit and violently active space of the stage." [an error occurred while processing this directive][an error occurred while processing this directive] "Is it too much to ask to leave a theatre show just a little changed? Moved in some way? Exhilarated? Provoked? Looking back at the year as a whole you'd have to say 'yes'............................. But nobody moved us quite like performance art troupe Gravity Feed. In the Marrickville railway station carpark Tabernacle simply didn't give you a choice. It was move or be moved as they folded the space in on itself, corralling you, compacting you into the proximity of strangers or leaving you stranded. A show - an experience - that forced you to reassess your role as an audience member. By year's end it was just what we needed." [an error occurred while processing this directive] HOST, Paris, 2002 [an error occurred while processing this directive] "Athletic responses, an instinct for play, and eyes in the back of one's head! These would all be useful tools whilst attending Host, the spectacular, intelligent and maliciousn trap laid by the Australian company Gravity Feed...[They] manage, successfully and without any concession, to weave an artistic and human bond between themselves and the public. We owe this very beautiful coup to the tenacity of Michel Caserta, director of la Biennale de danse du Val-de-Marne for the past 20 years, who dreamt of presenting this discovery of Australian dance. " [an error occurred while processing this directive] Read Jeff Stein's interview with RealTime #53 : "On the go : Australians performing Internationally." in the article on the Biennale Nationale de danse du Val-de-Marne google [an error occurred while processing this directive][an error occurred while processing this directive] Reviews: [an error occurred while processing this directive] HOST , Sydney, 1999 [an error occurred while processing this directive] "The audience is shepherded into a narrow section of the auditorium that has been fenced off with cardboard constructions three metres high. It is like walking into an ancient monument, barely lit by the fading evening light. The atmosphere is heightened by whispering among the six members of Gravity Feed, who can be glimpsed through gaps in the wall. Then the wall moves, squeezing the audience and pushing it forward. Eventually we reach the centre, to discover the angular architectural beauty of Horst Kiechle's giant cardboard sculptures on the inside........they make a magic cave of geometrical shapes that bulge, shrink into concaves, overlap, trick the eye and stimulate the imagination. But that is only the beginning." [an error occurred while processing this directive][an error occurred while processing this directive] "At first the monoliths appeared to shift only slightly, changing the space imperceptibly. At one point, relieved to be at last let inside we turned a corner to find ourselves confined in an identically claustrophobic space. ........ The shapes begin to tip and turn, the ambience of the space amplified by Rik Rue's constantly changing sound scape.... from inside one of the structures sounds float out as if from an alien music box. Sometimes the men leave us to our own devices, disappearing to rest somewhere, though where I wonder. Then they're back in some new configuration, agitated, in a line jumping against impossible walls as if to mount them, then back to the gliding tetradecahedron structures that slide and tip and lift and hide and seek and watch and give shape to the bodies between them.... If Gravity Feed's last show, The Gravity of the Situation showed us the tabernacle, then here was the temple. We were inside an idea made flesh and board and sound and shadow and light, inside the belly of the beast and if we listened we could hear ourselves think. In Host, Gravity Feed created an unforgettable place which made us feel we had been somewhere and left us with a strong desire to return." [an error occurred while processing this directive][an error occurred while processing this directive] Reviews: [an error occurred while processing this directive] THE GRAVITY OF THE SITUATION, Sydney, 1998 [an error occurred while processing this directive] "Sydney's leading exponent of the site specific is Gravity Feed. Since 1992, they've been performing in all sorts of spaces (including, to be fair, the odd theatre)." [an error occurred while processing this directive][an error occurred while processing this directive] "Part of me wants to read this show literally. I resist. This is performance. We all inch our way in past signs that intimate danger. We are in a high ceilinged tunnel not in a theatre. Men in tired suits, some unshaven, hair straggling or shaved creep and dart about, oblivious to us, gathering lit candles in paper bags, placing them on a high ledge above a tall ladder, or in a cluster on the ground further down the tunnel............ A soundtrack rumbles the resonant tunnel into a hymn of unremitting threat and mystery. It doesn't let go of us. One of the men tugs at a huge metal cube walled with what looks like triple-ply cardboard (light but remarkably tough) and lets it roll down the slope of the tunnel, barely impeding its speed with all of his bodyweight. This is the first of the journeys of the cube, a miraculous device, Prometheus' boulder to be rolled endlessly up the slope, a self-generating Platonic ideal that grows new walls as soon as old ones fall away (great design and construction), a perfect material to ignite (it takes and then refuses, glowing like a Red Milky Way), a tabernacle for unwilling worshippers whom it sucks into its centre from time to time and then once and for all." [an error occurred while processing this directive][an error occurred while processing this directive] Reviews: [an error occurred while processing this directive] IN THE HOUSE OF SKIN , Sydney, 1996 [an error occurred while processing this directive] "Another man in a suit enters sombrely with a monstrous trolley and gently wheels the door into the theatre, taking us with him into a closed world of men and doors, doors they dance with alone and in chorus, bury themselves in and under, doors they build with, doors they cherish and punish themselves with, control and lose control of. The world of order, of door twirling and risky manipulation, becomes pure contingency directly frightening the men and their audience. The doors live or are subject to some force beyond men. In the House of Skin opens out many meanings,.......the performance resonates with male displacement of desire into the inanimate (timber, tools), the challenge of giving life to the barely malleable, the pleasures of construction... the humiliation of defeat. It's a humbling vision in which the performers turn endurance to grace." [an error occurred while processing this directive][an error occurred while processing this directive] "It is an extraordinary, disturbing, thought-provoking and skilfully communicated piece of theatre in which the language is movement rather than words. The theme is multi-faceted, with particular importance given to the permanent site and the changing construction manipulated by the performers inside. ....... In the House of Skin is intense, noisy and sometimes scary. But there is poignancy as well as brutal struggle in the relationship with those doors. It is full of surprises, bold imagery and memorable ideas." 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