Revolutions (May 19-22 & 25-29)

Last year we brought you the sold-out and critically acclaimed Steppenwolf. This year, we invite you on a new adventure….

Revolutions is an immersive performance in a 7,000 square foot warehouse. A telescopic journey through dust, human chemical relationships and geological time.

 

May 19-22 at 8pm (2pm Sat 21 & Sun 22)

May 25-29 at 8pm (2pm Sat 28 & Sun 29)

 

at The Warehouse, 3681 Victoria Drive*

 

Tickets available now

 

Fight With a Stick is a company of theatre-makers, video artists, composers, installation and performance artists. They “are big, outside the box thinkers” (Jo Ledingham). Steppenwolf was described as “visually astonishing” (Ledingham) and “mind-bending” (RealTime). Revolutions promises more of the same.

The company: Steven Hill and Alex Lazaridis Ferguson (co-direction) // Jay White (set design) // Josh Hite (video artist) // Nancy Tam (sound design) //  Kyla Gardiner, Gabriel Raminhos & Jaylene Pratt (lighting design) // Delia Brett (performer-devisor) // Sean Marshall Jr. (performer-deviser) // Paul Viitanen (stage management) // Carmine Santavenere (performer-deviser)

*please note: the venue is not wheelchair accessible

 

Something good is happening in Vancouver contemporary performance… an original vision. (RealTime Arts, Australia)

The 3 P’s: an evening of art, discussion & libation

the 3 Ps

Join us for this exclusive salon event, Saturday, Feb. 20, 8 PM

FREE

RSVP to fightwithastick@gmail.com for location and event details. Space is limited, reserve early.

What are the 3 P’s? This is the stinging question that visual artists Kelly Lycan and Natalie Purschwitz will address during their very informative yet unabashedly casual presentation of their individual practices and processes.

Natalie Purschwitz is an artist and designer based in Vancouver, Canada. Her work seeks out spaces between art and design, performance and daily life. Her visual art practice is materially motivated and driven by curiosities in anthropology/archaeology, human/nature relationships and formal arrangements. Clothing is sometimes a starting point for her work. She is interested in how clothing functions as a language and a form of cultural production. Her work incorporates a range of media including sculptural installation, video, performance, photography and works on paper. She has a parallel practice designing costumes and sets for contemporary dance and theatre. Natalie grew up in a small town in the Canadian Rockies.

Kelly Lycan is a photo-based installation artist who resides in Vancouver BC. Her work investigates the way objects and images are placed and displayed in the world and the cycle of value they go through. Re-purposing and re-contextualizing ordinary things is a consistent part of her practice as well as researching the differences between experience and reproduction and how to translate these ideas through sculpture and photography by referencing collections and methods of display. Lycan engages photography in order to push it beyond medium specificity into a fluid quality of relations that blur the distinction between production and mass-consumption, content and style, time and place. The real becomes replica, representation becomes abstract, and image becomes object.

 

der Wink teaser video.

What makes a space a place? Or a building a home? Or an old hall a theatre? Or a crowd a community? der Wink is a German term Martin Heidegger used to describe a hint of the divine in the mundane, an elusive requirement that shifts our relation to space, a kind of glimmer of the beyond that might shift a collection of streets into a neighbourhood or a city into a polis.

The ideas for this project began several years ago out of conversations with choreographer Lee Su-Feh and Architect Jesse Garlick, and has grown into der Wink – a contemplation of co-occupancy and co-presence.

The work was devised over a three-week period with a beautiful group of generous souls. We have looked forward to the arrival of the audience to complete the work – as we occupy this old Russian Hall.

– Steven Hill

 

Eventually, most of us will die… (video)

Considering our own relations with the wilderness around us, we were compelled to transfer our work from the studio directly to the local “wild”: the endowment lands, the tidal flats, the north shore mountains. Additionally influenced by the discourse taking place in our city about current threats to the wilderness territories, we wondered how our art might complicate some of our own naive, and unexamined assumptions in the debate.

– video by Karilynn Ming Ho

To Wear A Heart So White

j-w-horne-tree

What:    Main Stage Performance
Where: The Russian Hall (600 Campbell Ave.)
When:   March 25 – March 30, 2014

 

Part pilgrimage, part Elizabethan Tragedy, part Church service. Join Leaky Heaven at the Russian Hall for a retelling of this story of conquest and migration. The death of kings, queens, and nature. The birth of real estate.

To Wear a Heart So White is a spatial exploration of the Russian Hall mapped over by Shakespeare and the lost rituals of colonialism. A somber parade for the end of times.

Not so much a pushing of boundaries as a licking of them.

 

Single ticket $20; Concession $15; Groups: contact Leaky Heaven @ 604-374-1831

Brown Paper Tickets, www.brownpapertickets.com

 

1969 (Project X: faust)

Project X 112

What: Main Stage Performance

Where: TBA

When July 14 – 24, 2015

1969  is a development of 2011’s Project x (faust), following a process of workshops and scriptwriting towards creating a new work out of the territory opened up by the original piece. With Project x (faust) we created a performance machine – with mirrors and projection – that set the audience in the centre of virtual space. We chose to work with Rosemary’s baby in a search for a recent container for faust and through the film followed the path of events that occurred in the year of its release in 1969. Within a year of the film’s release Charles Manson, the generation’s devil would murder Roman Polanski’s wife, the Hell’s Angels would murder an audience member in the front row of the Altamont Rolling Stones concert while an ineffectual Mick Jagger appealed for calm, and while Neil Armstrong walked on the moon the promise of the generation went sideways.

We will continue the investigation of space and work towards a performance that utilizes perception and the accumulation of narrative fragments that imply connections and meanings. Playing with the casual and causal moments of history we will follow the iconic figures of the year 1969 and treat it as a pivotal moment that has created this present.