Five Shows I’m Not Going to Make

 

 

  1. In “Tether, Release” Kate embodies the post-human by living as an owl for twelve days. She internalises subject-object distinctions in process by hunting mice, eating them and vomiting up their skeletons and troubles linguistic categories by calling rather than speaking. She will extend the technology of her body by wearing wings  and claws as she sits on a perch for five hours a day and allows the public to interact with her as long as they’re wearing gauntlets. This becomes a Foucauldian interrogation of the limits of our biopower and what it truly means to become-animal.
  2. In “Expression Shopping List. Part VII” Kate and six performers who have made work  in Northern cities since graduating, celebrate the place-making and place-destroying element of their practice. They question the ways that belonging has become commodified and implicated in creativity. They will interpellate the audience as ambivalent shoppers by reading out collections of their shopping lists over a period of eighteen hours, whilst improvising comments such as “Pesto is more expensive in Shoreditch”.
  3. Kate’s company “J!zz The?tre” once again explores the limits of performance with its deliberately lo-fi aesthetic and examination of the boundaries between performance and life. The piece “Strictly” sees performers wearing ripped ballgowns watching an episode of “Strictly Come Dancing in real-time. In a searing resistance to mediatised jouissance they destroy the television set at the end of the piece by pouring water and other fluids on it. J!zz The?tre use their extensive performer training to appear not to use performance skills or techniques and reject traditional theatre snobbery. Please see attached PDF for a list of their awards and prestigious commissions.
  4. In “Ste (real) isation” Kate challenges gender conditioning about the categories of inside and outside, production and reproduction as her womb is removed live on stage, while the audience see a live camera feed of her uterus on a screen. During the surgery she performs a stand-up monologue about handbags and, after the operation is complete, she leaves the stage with her womb in a handbag. The audience are suspended in an ambiguous state somewhere between their implication in the staged spectacle of extreme emotional labour and comedic appreciation of her brilliant punchlines.
  5. In a tribute to the seminal work of The Wooster Group, Kate stages a reading of Alan Bennett’s works, with audience members invited to come up on to the stage and read sections themselves. In this multimedia, experimental, groundbreaking and post-post modern performance, all the readers will be invited to ingest Red Bull first. The subsequent readings will play with perceptions of time, speed, vowels and ultimately the nature of reality itself. In the climactic re enactment of “A Cream Cracker Under the Settee”, the whole audience will play the part of the cream cracker.

 

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