Discover Top Posts Tagged with #ash bee

i am studyin' now

#alsuper2 #ash bee #i don't know how to reply to your reply because i'm a n00b

Footage taken from Blonde Ambition's 2011 Responsive Residency with Critical Path.

The trio explores the 'Blonde' movement vocabulary through the actions of walking and falling. The images of an upright and comprehensible female form collide violently with the inverted female form struggling on the ground like an insect that has lost it's footing.

The 'Blonde' form is strongly emphasised in the simple actions of walking and falling. Arms akimbo creating a thrust chest and a clearly defined 'personal space'; they strut, they teeter, they totter- the Blondes walk.

Blonde Ambition is...

Ash Bee

Emma Maye Gibson

Samantha Parkinson

...a contemporary dance trio who aim to deconstruct and investigate the notion of a feminine ideal in their work.The 'Blondes' explore a physical vocabulary that references quotidian gesture, contemporary dance, burlesque and grotesque theatricality. They are heavily influenced by popular culture and lived experience as they conduct their anthropological investigation into gendered ways of 'being'.

youtube: www.youtube.com/user/missashbee

facebook: www.facebook.com/blondeambitiondance

vimeo: www.vimeo.com/ashbeeblonde

tumblr: www.blondeambitiondance.tumblr.com

photobucket: http://s793.photobucket.com/user/ashbeeblonde/profile/

twitter: @ashbeeblonde

instagram: @missashbee

#blondeambitiondance

#theherdapproaches

#blondes in situ #blondeambitiondance #ash bee #contemporary dance #critical path #samantha parkinson #emma may gibson #feminism #performance art #responsive residency

Footage taken from Blonde Ambition's 2011 Responsive Residency with Critical Path.

The trio use their 'Blonde' movement vocabulary to respond to the visual stimulus of a reflected self image. Questions of perception and perspective are brought to the fore as the Blondes explore the architecture of the real and reflected urban environment, whilst also exploring the architecture of their bodies in action and in collaboration.

Blonde Ambition is...

Ash Bee

Emma Maye Gibson

Samantha Parkinson

youtube: www.youtube.com/user/missashbee

facebook: www.facebook.com/blondeambitiondance

vimeo: www.vimeo.com/ashbeeblonde

tumblr: www.blondeambitiondance.tumblr.com

photobucket: http://s793.photobucket.com/user/ashbeeblonde/profile/

twitter: @ashbeeblonde

instagram: @missashbee

#blondeambitiondance

#theherdapproaches

#blondeambitiondance #ash bee #emma may gibson #samantha parkinson #contemporary dance #critical path #responsive residency #performance art #feminism

The herd approaches...

Hi Cyberspace!

We are Blonde Ambition- A contemporary dance trio with a feminist performance art agenda!

Read all about us in our 'About' section or come and visit us on facebook at www.facebook.com/blondeambitiondance :)

We thought we'd join tumblr so that we can tell you all about our exciting adventures as we traverse the earth in glittery green stilettos and body-sucking underwear...

#ash bee #emma may gibson #samantha parkinson #contemporary dance #the herd approaches #manly beach #blondes in situ #responsive residency #critical path #blondeambitiondance

An Awesome Trek Through the Cosmos with the Pinchgut Opera’s ‘Castor et Pollux’ by Rameau by Andrew Miller

Read the full article at http://berkshirereview.net/2012/12/10/pinchgut-opera-castor-pollux-rameau/

An Awesome Trek Through the Cosmos with the Pinchgut Opera’s ‘Castor et Pollux’ by Rameau

Back in the day, when music in the theatre manifested itself dramatically as dance and singing together — specifically ballet and opera — it did so in a myriad of different forms. Though we now call them opera-ballets (or even just operas), they can be difficult to imagine now that the two...

#Andy McDonell #Antony Walker #Ash Bee #Celeste Lazarenko #Erin Helyard #Hadleigh Adams #Jasmine Christie #Jeffrey Thompson #Luiz Pampolha #Orchestra of the Antipodes #period instruments #Pinchgut Opera #Rameau

Guest Blogger #10: Kate Gaul on 'The Lunch Hour'

Earlier this year I produced and directed The New Electric Ballroom at the SBW Stables theatre as part of Griffin Independent. It is a stunning play by Irishman Enda Walsh and we had an amazing season. But there’s a play that I’ve been working on for some time and it’s a new Australian play by Chris Aronsten called The Lunch Hour – for a season at Darlinghurst Theatre from September 7th – October 7th, 2012.

I met Chris Aronsten – well, I estimate it was 1999. We worked together in a theatre box office in Sydney. All of the casual staff were pretty much writers, actors, directors or designers. I was in and out of that kind of work as I established myself as a director in Sydney and kind of ended up following Chris around in various casual jobs. I main interest was directing new plays and I had already begun producing the occasional show.

Fast forward to 2006 – writers and directors tend to form relationships and Chris and I had kept in touch. He wrote a collection of three monologues titled Human Resources. I love the monologue form, I’d recently returned from a stint of professional development in America and I was really keen to get stuck into some new work. What I love about Human Resources is it’s biting black comedy; the daring use of language (which requires actors working at the top of their game); and it’s themes of control and isolation. It’s three monologues for two men and one woman. They are thematically interlinked and when I directed the production for the Darlinghurst Theatre I also worked with an ensemble of actors - in addition to the three major characters - who acted like a Greek chorus assisting, observing, and (hopefully) heightening the action.

The characters and stories in Human Resources explore the dehumanising workplace that so many of us experience – the monologues also touch on fears of being replaced by machines, homophobia, violence and personal isolation. There is enormous compassion for these flawed, sometimes awful characters.

What’s that quotation? “Most men lead lives of quiet desperation and go to the grave with the song still in them.” Henry David Thoreau. Yes, that kind of sums up the world in this play. You can take a look as some photos and reviews of Human Resources here.

So, keen to move onto a full length play Chris writes The Lunch Hour. This is a play in two acts for seven actors. Wow! A big ambitious move forward.

In the meantime Chris has written and directed Malice Toward None for the Old Fitz and been working on other projects.

When I first read The Lunch Hour I found it’s scarifying view of the world pretty confronting. Six struggling artists in a call centre…. (mmm, they do say to write what you know ...) The office is like a jungle where the workers, like wild animals, compete to survive. The Lunch Hour is also a comedy. I guess it’s theme is human failure. It’s also about dreams. The play is outrageously theatrical and is about the theatre too. It’s definitely entertaining. It’s really funny and there’s nothing nicer than recoiling from an astute observation and gaffawing out loud.

Like any great play it’s full of challenges for the director and actors. It’s very fast moving with lots of one-line speeches and lots of cross talk – this is a busy office! There’s a violence simmering under the surface, there is in fact a full-blown fight scene; the play moves through genres and - without giving anything away – there’s a big finish!

It’s an absolute ensemble piece and we have a wonderful cast – Angela Bauer, Briallen Clarke, Branden Christine, Shaun Rennie, Bali Padda, Sonny Vrebac and Gerry Sont. And a terrific Creative team – Charli Dugdale, Luiz Pampolha, Daryl Wallis, Diego Retamales, Ash Bee and Kirby Burgess. We’re fortunate and very grateful to be presenting this play at the Darlinghurst Theatre as part of the last season in the current theatre. Producing and presenting new Australian work is always risky and it’s heartening to have Darlinghurst’s support.

Ultimately I find The Lunch Hour to be very original. I like the way if confronts me. I admire its skill and ambition. And I am very excited to be starting rehearsal to bring The Lunch Hour to a brave audience in Sydney. I have not worked with any of the actors in the production so that’s also going to be a journey for us all.

In preparation for rehearsal we did get together with the cast for a couple of meetings in July. Firstly the hear the play read be the cast. We’re having the playscript published to coincide with the season in September and that requires the play to be at the printer before rehearsals commence – scary! Because as the play hasn’t been performed before there will be changes as we create the production. It’s been useful to hear the play and already Chris has tweeked bits and pieces. He’s also working with Daryl on some music for the show. I like the way that once we are all in the room together ideas flow, suggestions are made and tried, mulled over and tried again. It’s a harmonious relationship. Chris will come into rehearsals occasionally. With fresh eyes he can feedback on technical things like rhythm and tempo; focus any character or relationship slippages and be there to answer questions that may arise. How wonderful to have the writer around.

We will have a weekly blog entry from one of the team. Liz Arday who is our Assistant Director and Elizabeth Gibney who is observing the process will both be contributing. Currently there’s a bit of an interview with Chris on the site. And you can catch all of this here.

The adventure of the rehearsal room begins next Monday – wish us well!

Kate Gaul July, 2012

120 Birds will bring 120 Smiles to your Face

I will admit upfront that I don't see much amateur or alternative theatre. But when your contemporary dance teacher is putting on a show, there are no ifs ands or buts about going. For me, it was an opportunity to see someone I learn from in their element.

120 Birds is a tribute to the late Anna Pavlova; it follows the history of a fictional dance company as they tour the world through the 1920s and 1930s. The plot was comedic, the footage in the background from the 1920s - 30s was charming and the dancing was beautiful and mostly fluid. Overall, the show was (as Liz Lea would say); just FABULOUS.

The majority of the dancing was done by Liz Lea & Co. Having been under Liz's tutelage for several years now, I definitely can't fault her. Nor can I fault the dancers of the 'company' - all three were freelance dancers who have travelled interstate to participate in this production. The lines and shapes created were to die for and their synchronisation was impeccable. Miss Ash Bee was particularly charming, but I'm also being biased here - Ash taught Liz's class for a couple of weeks while Liz was overseeing rehearsals.

120 Birds also featured members from two dance classes run at the community dance centre, Canberra Dance Theatre; the burlesque class and GOLD (Growing OLd Disgracefully). The burlesque number could definitely have done with a few more weeks of rehearsing, but I certainly couldn't fault their contagious enthusiasm. It was wonderful to see that they were clearly having fun. The ladies from GOLD, there is no other word for them; FABULOUS. Whilst most people their age are slowing down and putting their feet up, these wonderful ladies are refusing to come down from their poised demi-pointed feet and/or still moving with fluidity and lightness. They were an inspiring sight to behold.

So, if you find you've got some spare time at around 4pm this afternoon, I recommend you go down to the Street Theatre and catch their last show. You may get lucky and be able to purchase the last of the tickets at the door. I don't believe there is a better way to spend the rest of your Sunday than warming your insides with laughter, smiles and finding that little bit of inspiration you need to get through the next week.