ALL WORKS AVAILABLE FOR TOURING
He was swimming the other way (2008)
40 min
Created by Delia Brett, Co -Artistic Director of MACHiNENOiSY
Performers-Caroline Liffmann, Tanya Podlozniuk, Laura Hicks and Jennifer McLeish-Lewis
Live Mix/ Music Composition- Chris Kelly
Lights- James Proudfoot
Props- Tamara Unroe
With a multi disciplinary mischievousness swimming explores mythic projections of male female relations- creating a contemporary embodiment of the sirens legends. Amongst an exquisitely dark underwater landscape four ridiculous and powerful women, sing, dance and seduce us to our watery demise.
Vancouver vs Vancouver (2008)
35 min
Conceived and choreographed by Fabrice Ramalingom
Choreographed and performed by Delia Brett, Daelik
Sound by Chris Kelly
“What’s the story?”
“There is no story… there are a lot of other things, though.”
Aesthetically simple, profoundly funny, and equally disturbing, Vancouver Versus Vancouver explores the complex machination of theatre and the employment of sound in dance. Two dancers, one male and one female, confront each other, confront the theatre, and challenge the viewer’s notions of story and dance.
Bamboozled (2007)
10 min
Created and performed by Delia Brett and Daelik
Music: Chris Kelly.
Modeled in the style of vaudeville, Bamboozled is a twisted, clever, surrealistic, gender-bending dance-western.
Self Less (2006)
45 min
Created and performed by Delia Brett and Daelik
Lights: James Proudfoot
Music: Chris Kelly and Lutz Gladen
2 performers, stage 10 x 10m, video beamer, small monitor,
self, I want you now to be violent and without history... Gwedolyn MacEwan.
Two people stand on stage in the aftermath of an unspecified disaster. Unmoored from memory, they struggle to evoke intimacy in a world where familiarity and routine have become mere debris. Who were they? Who are they now? What calamity is this? Has it destroyed everything in its path, language, identity, meaning itself?
Twister (2005)
(2005) 1 Performer, stage 8 x 8m, 15min.
Created and performed by Delia Brett. Music: Chris Kelly.
If birds fly over the rainbow, why then, oh why can't I?
A tragic comic contemplation on the frailty of human kind.
Paper dolls. Paper houses. A dark cloud. Exquisite beauty. Unquestionable will. A force of nature. This is the beginning. This is the end. Grab your children. Run. Hide.
Strangers Have the Best Candy (2005)
2 performers, stage 8 x 8m, 15 minutes.
Created by Daelik. Performed by Jennifer McLeish-Lewis and Daelik. Music: Emma Hendricks.
Two is a crowd in this duet where a couple of misfits meet, explore and enact social rituals.
Body/Building (2003)
4 performers, stage 11 x 11m, 45 minutes. Choreographer: Daelik. Sound design: Jacob Cino.
Body/Building: literally, the construction, the building of the body in public and imaginary spaces. Somewhere between the concrete of our cities and the internet. Body/Building is a piece with strong dramatic images and tremendous physical power.
Eratic (2002)
1 performer, stage 10 x 10m, video beamer, 40 min Choreographer: Daelik. Music: Hannu Huuskonen. Video design by D-Anne Trepanier.
In Eratic, Daelik interprets a solo extremely physical and theatrical. He is a stranger, a foreigner to all that surrounds him but especially to his own body. From a red sports bag he takes out all the incidental objects of metamorphosis to taste in his quest for identity. The dance transforms from one moment to the next from extremely physical acrobatic to one of concentration and exquisite slowness.
The Secret Lexicon of Dis/ease (2002)
4 performers, stage 11 x 11m, video beamer, 50 min. Choreographer: Daelik. Lighting design by James Proudfoot. Original sound composition by Hannu Huuskonen. Video design by D-Anne Trepanier.
“It's amazingly easy for us to maintain a façade of normalcy while harboring a sense of dis-ease within ourselves.”
Drawing on images of ‘foreignness', The Secret Lexicon of Dis/ease examines the universality and commonality of the secret dis eases that bar us from integrating with those around us. Physical limitations, language barriers, sex & gender dysphasia, and neurological disorders create the lexicon of dis/ease that cast us in the role of the outsider. Floating through life, we fail to communicate and experience life as ghosts.
Dissolve (2001)
1 performer, stage 8 x 8m,
(boat is fiberglass with wood skeleton, 200 x 90 x 150cm, 20kg on casters) 25 min.
Created and performed by Delia Brett. Music by Chris Kelly. Lights by James Proudfoot. Set design by Spencer Davidson.
A skiff, illuminated from within, bares its ribs to the night. A curved mast arches above the body of the small boat, sending sheets of rain into its open belly. In Dissolve dancer-choreographer Delia Brett evokes images of mermaids, fish and science professors, as she investigates water as a metaphor for becoming and dissolving. Dissolve is a dialogue that contrasts images of fluidity and femininity with the scientific model. The piece is visually mesmerizing, with a haunting original composition by Chris Kelly.
falcon (2000)
1 performer, stage 10 x 10m, 20 min
Choreographer: Chick Snipper. Music: Beat Halberschmidt. 20 min.
This solo plays between the public and private persona of a tragic character: a street hustler, a world weary general, a hunting bird tethered to a pole.
Gestures From A Condemned Man (2000)
5 performers (men), stage 11 x 11m, 45 Min.
Choreographer: Daelik. Lighting design by James Proudfoot.
Drawing images from the writings of Jean Genet, and from personal experiences, Gestures From A Condemned Man examines the theme of confinement in male society: physical, emotional, mental, spiritual, sexual. It creates a cruel, narrow framed world where 6 men live daily with violence, desire, melancholy and betrayal but escape through small acts of kindness, secret defiance, friendship and, at night, in their dreams.
Tortoise Hair (2000)
1 performer, stage 10 x 10m, 20 min. Choreographer: Cornelius Fischer-Credo. Lighting design: Jean Philippe Trepanier.
This work explores the physicality and dynamics of isolated body parts in relation to weight and the power of gravity. Animal instinct is evoked in the image of a satyr with the human side taming this force in the guise of the cowboy.
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