(this is more under construction than the rest of this blog…)
chrysalis (1997) A ritual of change, exploring extremes of rigidity and softness through the human body, electronic sound, metal and colour. Presented as an eight minute video, as a 30 minute performance and as a soundpiece entitled Krusos (played on Radio 3’s Mixing It in November 2003). Performed and devised by Jo Shapland using a special adaptation of a theremin made by sonic artist Dave Handford. This piece begins with the performer wearing a full-body tin suit (made by the performer) and raised up on tin platform shoes. As tension builds through music and movement she breaks out of the tin suit wearing body paint the colours of a prism. She then sets up a dialogue between movement, colour and electronic sound. The sound is a rhythmic combination of body sounds, the human voice and metal sounds sampled from the tin suit. Made with financial assistance from the Arts Council of Wales. Partners: Colourscape Festival (London and York). The Magdalena Project, Cerridwen Centre (Carmarthenshire)
zeitlupe:(time magnifying glass) (1998) Through cut-up choreography, strange sonic abstraction, dada inspired text and dodgy charity shop clothes this highly expressive solo dance theatre collage takes the audience through an absurd, tragi-comic, disturbing and beautiful journey. Originally commissioned by Welsh Independent dance. Toured to Aberystwyth Arts Centre (part of The Centre for Performance Research ‘Restless Gravity’ Festival), Theatre Mwldan, Cardigan, Project Arts Centre, Dublin. With financial assistance from PACT@Aberystwyth
soluna (1999-2003) performances, screendance, installation. Made with financial assistance from the Arts Council of Wales. Screendance commissioned by WID. Original site specific performance commissioned by Robin Heath.
see the woods through the trees (2001) 2 objects in a room. A human body and an electronic waveform generator. 2 voices collide… and merge. JO verses H.A.R.R.Y. ‘See the woods through the trees’ is a dialogue of manipulation between a performer, an electronic sound generator, the sound generator’s maker and a live video screen display of merging waveforms made by this action. The Picture: Two three-foot high white plinths, two feet away from each other. Poised upon them and facing each other are the sound generator (H.A.R.R.Y.) and the performer (JO), connected up to the off-stage sound/vision desk, mixed by the sound generator’s maker. Framing this picture, and acting as a kind of backdrop, is the vivid green video projection of waveforms. Also ‘off-stage’, somewhere in the room (depending on the arrangement in the space) is a shrine to positive and negative energy incorporating arcane electronic symbols. The overall picture gives a strong colour contrast of bright red and bright green. The Action: The performer sets her body and voice into minimal movement with delicacy and sensitivity, manipulating and responding to her own heartbeat, the sound generator and the shifting wave displays. The piece builds, with added interactions from the sound generator’s maker, to a wall of enveloping sound, ending with the performer cutting and leaving the loop she has become part of. Made with financial assistance from the Arts Council of Wales
pedestal Originally commissioned by Llandysul Arts Society. Developed with financial assistance from the Arts Council of Wales. Toured site sensitively in Wales and Ireland with financial assistance from PACT@Aberystwyth
spilt milk installed and performed at the National Review of Live Art and Experimentica Festival
one level: an homage to alvar aalto site sensitive performance/installation performed at Aberystwyth Arts Centre. Commissioned by WID.