(Why Zoë Why)
To create embodied performances that embrace the lockdown conditions of the covid-19 pandemic by experimenting with digital applications such as iPhoto and iMovie, in order to learn to think with these ubiquitous technologies as evocative alternatives or as an adjunct to live performance.
To experiment with an interdisciplinary collaborative process that values relational and affective knowledge while creating performance assemblages with acrobatics, movement, text, costume, sound, projection and video
To respond to the emerging material, the chance encounters, and the limited access to public spaces while reclaiming acrobatics as a legitimate art form to discover new associations between the body, costume and technology.
QUESTIONS
How can interdisciplinary collaboration affect body-based devising processes to flirt with and destabilize human exceptionalism?
What can non-human collaborators invite and incite? (the table, the projection the soft sculptures, the sound)?
How can I/we change /challenge my/our habitual movements to think beyond the self–contained body and collaborate with humans and non-humans?
In the Middle of Zoë 