Corporeal Imago
Throe
Photo: Darryl Ahye
Corporeal Imago explores contemporary tragedy through an intersection of aerial acrobatics, contemporary dance and visual theatre. Speaking to the disenchantment of our times, the company bridges the apotheosis of circus, with its metaphor for surpassing our human limitations, with the cathartic potential of dance. A vehicle for exploring the shadow side of human experience, Corporeal Imago was co-founded in 2018 by choreographers Gabrielle Martin and Jeremiah Hughes, who were brought together by their shared background in dance while performing as principal characters with Cirque du Soleil. Their work has been presented at Montréal Complètement Cirque, La Chapelle Scènes Contemporaines, Assembly Festival, Edinburgh Festival Fringe, Dancing on the Edge Festival, and more. Corporeal Imago was nominated for a TOTAL THEATRE AWARD in Physical and Visual Theatre (2019), was a 2021-22 Artist in Residence at The Dance Centre, and won the 2022 Isadora Award for excellence in choreography.
Throe
Throe explores our interdependence in an inhospitable world through a stunning intersection of aerial acrobatics, contemporary dance, and visual theatre. Created by award-winning choreographers Gabrielle Martin and Jeremiah Hughes, this new work features six powerful performers in a world of aerial ropes, as they cling to what remains in the throes of survival. While Throe depicts us at the mercy of our circumstances, it also highlights the resilience and hope in collectivity. Throe pushes the boundaries of aerial dance, blurring the space between floor- and air-based movement to create a compellingly kinetic and visually arresting world.
Performance History
Upcoming:
Throe premiere, November 17-19 2022, The Dance Centre, Scotiabank Dance Centre, Vancouver, BC.
Past:
Limb(e)s, Corporeal Imago’s first show, premiered at Montréal Complètement Cirque and La Chapelle Scènes Contemporaines (2019) before touring to Assembly Festival, Edinburgh Festival Fringe (UK, 2019). In 2021, its cinematic adaptation screened at the Dancing on the Edge Festival (Vancouver), Assembly Festival, Edinburgh Festival Fringe and the Toronto International Dance Festival.
Project Details
Project created by: Gabrielle Martin and Jeremiah Hughes
Key Collaborators:
Aerial/Dance Artists: Marissa Wong, Brenna Metzmeier, Isak Enquist, Jeremiah Hughes, Alex Tam, Eowynn Enquist
Composer: Jo Hirabayashi
Lighting Designer: Sophie Tang
Costume Designer: Amy McDougall
Audience: General Audience
Length in minutes: 50 minutes - Full length work
Space required: This work is built for a theatre
A black marley dance floor is required, in addition to the following dimensions:
Height to rigging points: 7 metres min
Stage width: 13 metres min
Stage depth: 9 metres min
Preparation required: require 6 hours for rigging, in addition, to hang and focus time.
General technical requirements:
Rigging
3 rigging points in a triangular position; each point being approximately 3.5-4 metres from centre stage. Our rigger can work with the venue and adapt to available rigging points where possible. Please contact our technical contact for more specifications.
Each rigging point rated for 3000 lbs weight capacity.
PROVIDED BY THE PRESENTER:
Lift or ladder for installation.
PROVIDED BY THE COMPANY:
A rigger
Equipment: Slings rated for 22kN, carabiners rated for 27kN, aerial ropes, rigging rope rated to hold excess of 4082KG/9000LB, etc.
LIGHTING
1x Martin Mac 301 (or other moving light that can stand alone on the floor)
6 x ETC Source 4 19 degrees with Rosco I-Cue Mirrors
10x ETC Source 4 26 degrees (used as front light in bows, could be cut in some situations)
8 x ETC Source 4 36 degrees with Chroma-Q Broadway Scollers
12 x ETC Source 4 PAR MFL with Chroma-Q M+ Scrollers
ACCESSORIES:
1x barndoor
Please see HERE tour lighting plot. We seek to adapt our plot to the house plot of each venue where possible. We will use a low fog machine per performance. Requiring the venue to be able to turn off any smoke detectors that may be triggered during performance.
PROVIDED BY PRESENTER
1x Low Fog Machine with liquid that does not make floor slippery. Please consult with company TD for more information.
SET/PROPS
All equipment and costumes transported with company travel in
2x 23kg/50lbs suitcases.
SOUND
Professional quality stereo sound system with full range speakers and separate sub speakers required. A proper mixing console (ie Midas, Avid, Health..) All necessary fills and clusters (with adjustable EQ) for good coverage for the audience area. Quality manufactures preferred: D & B, EAW, EV, L’ACOUSTICS, MARTIN, MEYER, NEXO, etc. The system must be free of hums and noises and in good working condition at load-in time. As well as a proper line out audio player for playing 48khz 24bit wave audio files.
Availability: Spring of 2022/23 and the full 2023/24 and 2024/25 season
Number of performers on tour including choreographer: 7
Number of support staff on tour: 0-1
Community Engagement Activities
We offer floor-based acrobatic dance classes for intermediate-advanced dancers and circus artists and contemporary dance classes for beginner, intermediate or advanced levels. Where rigging is available for workshops, we offer aerial rope classes for advanced level dancers and/or intermediate-advanced level circus artists, and aerial yoga for all levels.
We offer these classes for a teaching fee of $125/hr. Classes are two hours, with the option of offering a two- or three- part series. All classes can be offered for teens or adults. When aerial rigging is available, we can provide aerial equipment for classes, however, this will add an additional 50kg suitcase to our travel expenses. Scheduling to be worked around tech schedule. We are capable of teaching on performance days.
We have also taught classes on aerial dramaturgy and led artist talks on our practice. Please see the “Advanced Prep” section for more information on talks and open rehearsal activities.
Additional information:
We tour with a rigger experienced in live-load rigging.
As a company, our vision encompasses inclusive cultural experiences on stage, backstage, and in the house, and we do this by engaging diverse communities through presentation, exchange, and artistic development activities. As a reflection of this value, fifty percent of the creative team in Throe are Black or people of colour. We seek to present to diverse audiences and are currently developing an ASL Vlog, written introduction, and visual story to increase the accessibility of the performance for Deaf and hard of hearing folk and neurodivergent folk.
Finally, in a time when supply chain issues negatively affect freight costs for presenters, Throe is a highly accessible show to tour with all equipment and costumes provided by the company traveling in two, 50 lb suitcases.
Photo: Darryl Ahye