Project Details

Project created by: Artistic Co-Director Josh Martin

Key Collaborators: Creation and Performance: Josh Martin; Creative Collaborators: Justine A. Chambers, Lisa Mariko Gelley & Maiko Yamamoto; Music: Ian William Craig & Matthew Tomkinson; Sound Design: Matthew Tomkinson; Lighting Design: James Proudfoot; Scenic Design: Josh Martin Set Construction Coordination and Build: Paula Viitanen Aldazosa & Juan Carlos Aldazosa Bazúa; Video Direction / Stage Management: Jessica Han; Company 605 Managing Producer: Francesca Piscopo (Eponymous); Camera Operators: Daniel Loan, Yasuhiro Okada & Gabriel Raminhos

Audience: General Audience

Length in minutes: 55 minutes - Full length work

Space required: The piece was conceived to be performed in a 2.5m 4xm “room”, with the set as a private self-contained space enclosed within multi-material walls of various opacity, which simultaneously both confines and inspires the performance, obscuring portions of what takes place while heightening and intensifying others. This key physical set piece and abstract psychological space can be recreated and adapted to many unconventional venues, either set-up on a traditional stage or positioned in an open space (e.g. a square, a warehouse, a parking lot, and dark soccer field, etc. etc.); the live-feed camera component overlaps additional conceptual layers to the piece as well as offering an alternative way to cue the viewer/audience choices in how they may interact with the work. The idea is to allow the audience to move around the performance space, changing their viewpoint and proximity, as if approaching a display case. The viewer is able to see beyond the container an outer perimeter where screens are displaying the camera capture from the live performance, so all the images of close-ups of texture and detail, all the hidden spaces, are also revealed. It could be conceived that this footage is also part of a simultaneous live-streamed presentation for online audiences. A small-scale work like Brimming allows for a variety of advantages, in terms of expenses, venues and opportunities, and we consistently and strategically maximize the touring possibilities of our small-scale works.

Preparation required: If the performance is to be developed further to incorporate live-feed cameras in tandem with a live in-situ performance, then a technical residency may be required.

General technical requirements: STAGE REQUIREMENTS: Brimming is a solo dance work with the performance contained entirely within the confines of a collapsible set piece that travels with the company. The set is a rectangular frame assembled with aluminum pipe and Kee Clamp connectors, with the container structure measuring a total of 8’ wide x 12’ deep x 8’ tall. The required performance space therefore must allow for these dimensions with some additional space to maneuver and set-up outside of the main interior space. The frame rests on top of a 8’ x12’ rug as the floor surface. The set also involves a wooden chair, an Ikea standing lamp, plywood and plexiglass materials, either traveling with the company or sourced locally in the host city. LIGHTING AND VIDEO: The lighting design for this piece is primarily battery powered wireless-DMX controlled LED tubes (Astera AX-1s) and Bulbs that are all situated within the structure itself. All lighting therefore is mainly self-contained, and needing no cabling into the structure itself. Because of this, with very minimal power to the technical operating position, the work is able to be installed and presented in unconventional areas or spaces. If the performance is to involve a live-stream or projected video capture component, additional requirements for camera/video equipment and appropriate operators must be mutually determined and agreed upon with the artist. SOUND: Show requires a basic professional quality stereo sound system in good working order, providing clear, undistorted, evenly distributed sound proportionate to hall capacity, and on-stage monitors. Sound source is a single file with stereo output from the company’s computer.

Availabilities: Available in 2020/21 season except for the following dates: March 1-5 - Vancouver Playhouse performance (TBC); March 21-28 - BC Movement Arts Series Tour (Sointula, Port McNeil, and Alert Bay); April 4-16 - Potential dates for residency in Heidelberg (TBC). Available in 2021/22season except for the following dates: Aug 31-Sept 3 - Tanzmesse (TBC); December - Winter Intensive Program. 2022/23 is currently unknown and does not have firm obligations at this time.

Number of performers on tour: 1

Number of support staff on tour: Stage Manager & A/V Technical Support

Community Engagement Activities

PROCESS SHARING & AUDIENCE DEVELOPMENT: Rather than design separate community engagement activities, we take our existing artistic activity and ensure there are opportunities for different communities to interact with it. Often this takes the shape of multiple performances and showings of work-in-progress and open rehearsals, where the process is described and viewers can engage in dialogue with us. Partnerships with many organizations locally and on tour has allowed the company to create performances specifically for young audiences and high schools. An example of this is the Dance Centre’s Discover Dance Series, which targets high school groups and includes Q+A and dance workshops. WORKSHOPS & PARTNERSHIPS: 605 works to connect the pre-professional and professional dance community. We’ve strengthened our partnership with Simon Fraser University, playing a larger role to this end. We’ve brought fourth year students as apprentices in our research processes, hosted work/study students for SFU’s Internships In Contemporary Arts Program (credited), mentored at SFU’s LAUNCH! Festival, and taught workshops for the University’s dance theatre/dance majors. We have similar relationships with Modus Operandi Training Program, and Arts Umbrella. These workshops also take place independent of these partnerships while on tour.