Article from Arts de la Piste magazine

Under the framework of the Chalons dans la Rue 2003 Festival, four British companies joined together to create a baroque and crazy, messy haired show: ELEMENTAL. The performance linked the film and animated images of Forkbeard Fantasy with the aerial evolutions of Company FZ, the rhythmic music of Homelife and incorporated the “oh so British” acting style of Bill Palmer from Avanti Display. This was an experimental mixture.

ELEMENTAL

When circus and theatricality work together

Even given the short rehearsal time this show managed to scrub up well: British performers are used to being short on time and money when they create their shows and then ironing out the initial problems later.

However for Elemental, based on the theme of the artist locked in their own world, the four companies used ”recycled” extracts of their previous touring shows, and then improvised with the other performers to create short scenes or ”vignettes” which shared an obsessive compulsive flavour. The obsessive compulsive was the theme chosen by the performers to illustrate the way they see their relationship with their work. All these ideas finally came together “in situ” at the Chalons Abattoirs.

The audience was invited to immerse itself in a sort of cabaret with a haunted castle feel, one was always expecting to be faced with a Frankenstein type creature at the entrance of every character either on stage or in the hall. “British Humour” is evident in this project, especially in Bill Palmer and Forkbeard Fantasy’s work, whilst the craziness and excess is brought through the highly theatrical contribution of Company FZ.

This company, who describe their style as ‘visual theatre’, have used circus techniques in their work since its creation in 1998. Actor, dancer and ‘roper’ John Paul Zaccarini- who has worked with DV8, and Flick Ferdinando- actress, director, ex-aerial performer as well as artistic advisor for Circus Space met in a traditional circus. They decided to work together, to create a different way of performing, which would use their multiple skills and place theatricality, and meanings, before other elements of performance. Here they are joined by two Circomedia ex-pupils, based in Bristol.

So now the aerial and juggling begin. In one scene the rope starts to play a sado-masochistic game, another is worthy of the best London peep shows mixed with elastic. A “love-to-death” in a bath tub flies past on the abattoir’s aerial railways, the shower obsession (also on the rope) makes the artists’ movements first spectacular then almost dangerous: Through using circus techniques, with all their intimate, expressive body work, FZ go through some serious themes. The apparatus are re-discovered, revisited and find some new function through a new physical task. All this is performed within the context of the mental state known as “pathological”.

But nevertheless these artists are well balanced. This is a precise analysis of the production of their art and the conditions of performance within their country; where circus tents are reserved for traditional companies and experimental shows tour middle size proscenium arch venues (from 500-1000 seats)

Performing at the Abattoir, above the audience’s heads was a kind of challenge and an extra pleasure. We hope that the international tour coming will give them the chance to develop this spatial relationship, which is fundamental for their idea’s impact.