Lead artist/researchers: Jacek Scarso
Following the critically acclaimed production The Magdalene Mysteries, Jacek Ludwig Scarso and his company Vocal Motions Elastic Theatre, presented a new double bill of music theatre, dance and contemporary opera, with original scores devised collaboratively by the company in September 2009. Featuring:
Μεδουςα : A miniature opera
Opera and contemporary dance merge together in this re-telling of the ancient myth. It’s dusk: Medousa knows that by the end of that same night she is to be transformed into a terrifying creature. Perseus is on his way to kill her. Yet the waiting is strangely enticing…
The compositional process for Medousa, a miniature opera was launched as part of Arts Arena’s conference on performance as research held at the American University of Paris and the piece will be premiered at the Riverside Studios, as part of the Opera Festival, on Thurs 6th and Fri 7th August 2009.
The Passion of Saints: Sergius and Bacchus
Set to a haunting live vocal score, this dance-theatre piece re-imagines the legend of two little known saints of the late Roman Empire, their controversial relationship explored in a tale of torture and enlightenment.
The Passion of Saints Sergius and Bacchus premiered at the Arcola Theatre, as part of Adventures in Movement, on 18th July 2009.
Borderline Opera aimed to broaden the audience of contemporary opera and music theatre and to push the artistic boundaries of these performance styles. Together with representing the umbrella concept that frames the company’s forthcoming productions and performance research, it consisted of a series of events to discuss, share and present methodology of performance making and the issues that this raises.
Borderline Opera is specifically interested in the issues raised by the application of devised performance models to opera and music theatre. For instance, what happens when these styles, traditionally hierarchical in their creative approach, are explored through collaborative and improvisational methods? As the company’s original scores, texts, choreographies and staging ideas are to a great extent the products of improvisation, how should this process be specifically tailored to each discipline? In performance, Vocal Motions Elastic Theatre brings together dancers, singers and actors, but these rarely overlap their roles. How does this process compare to traditional music theatre and opera?
BORDERLINE OPERA programme 1.doc
Download programme for further information