“Privacy is an invention without a future.”
Exploring the ideas of our privacy (and just how much of it we have left), 'Wireless' uses mobile phones and GPS technology to dig deeper and shine a light on the power our devices have over us. Choreographer and co-Director Lisa Wilson tells us more about the show, which is playing at the Judith Wright Centre of Contemporary Arts.
First of all, what does this show entail?
'Wireless' is a poly-media work about trust and control, privacy and surveillance. Poly-media is how we use multiple technologies in our lives and on stage, machines used to extend and express human desires as we simultaneously desire connection and secrecy, intimacy and anonymity. 'Wireless' meshes dance, interactive sound and video and design – plus four stellar performers who are recognised nationally. It combines technology with movement.
As the choreographer, what are some of the challenges you've faced working with this piece? On the flipside, what are some of the strengths?
The challenges and strengths are interconnected because the dancers, for the most part, control the music with their phones. As a contemporary choreographer I strive to bring something new to each work and rehearsal process – and Paul is giving over control of his music to the dancers. This is also a challenge for the dancers. There are some surprising and distinctive results.
Are there any other shows you've been a part of that you can compare to this one?
NO... But Paul has been working with interactive music for a while. The difference here is that all the technology is literally 'off the shelf'. Anyone can put it together.
Have you had to work closely with Paul Charlier (composer) when putting this show together? How?
Paul and I are creating this work together. From the beginning the original concept was Paul's and he suggested we could develop this as co-directors. We first put this idea forward as an application to Fresh Ground, an initiative (unfortunately no longer running) of the Judith Wright Centre of Contemporary Arts. Over the last few years we have had small amounts of concentrated development time in the studio with performers and a lot more time talking, researching and planning to finally bring the show together this year.
What is your favourite aspect of 'Wireless’?
I am always inspired by the collaborators I work with. So first and foremost Paul is an incredibly inspiring person to co-direct this work with. All of the other artists, the four performers, our creative and technical team all bring this work to life with a shared vision that is so enjoyable to be a part of every day in the rehearsal room.
What are the strengths of the Judith Wright Centre as a venue for this performance?
The Judith Wright Centre and Metro Arts are supporting this project and we could not put this work on without them both. We have been incredibly fortunate to have our current creative development period in the theatre space for four weeks leading up to our opening on 15 June. This has allowed us more possibilities to work with our set, on video ideas and play with the technology involved, in a more meaningful way than would have been possible in a rehearsal studio. The theatre at the Judith Wright is a fantastic space for dance/theatre as it has a much more intimate feel than larger venues, which will allow audiences to be up close and connect more with our work.
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Why should people head along and see 'Wireless'?
As someone in the States said: “I have vested interest in the future, because I plan on living there.”
