Premiered August 16 1997,

Fringe Festival of Independant Artists,
Buddies in Bad Times Theatre, Toronto

Danceographers: Susan Lee and Eryn Dace Trudell
Music composition/Sound design: Catherine Thompson
Nature Sound recordings by Corrie Scheffer
Production Designer: Dany Lynn
Rubber Wear by Sue Seto
Lighting designer/Stage Manager: Sharon DiGenova

After Forced Horn in 1996, Eryn and Susan continued exploring the duet form. Elimination of Lateral Violence evolved as a 20 minute danceography: a developmental structure which honours the creative equity between dancer and choreographer, eliminating hierarchy and formalizing and naming this process. Danceography is a choreographic process where the dancer and the choreographer are one and the same, and the movement is generated through improvisational scores.

The language that developed combines contact improvisation with very driving, frenetic,space-encompassing unison phrases and highly developed floor work. The dancers create an emotionally heightened internal and external landscape through characterization and spatial relationships.It uniquely celebrates the vast possibilities of partnering in dance with a vocabulary of powerful lifting, sensual, lush gestures and intricate entwinement.

The themes evolving are universal and personal. Elimination of Lateral Violence portrays an intimate relationship between androgynous, futuristic characters battling primitive internal and external landscapes. The themes that have surfaced are; how to have courage in a world of fear and oppression and how to protect a relationship threatened by internal and external violence; the risk involved with intimacy and trust; finding a safe place within and defending it from evil.

Dany Lyne's design concept for Elimination of Lateral Violence can be described as cultural collision, with images culled from ideas of urban tribalism and primitive isolation, and traditional Peking Opera. The costumes expose the body, yet also suggest armour for warfare. Human features are masked by paint revealing the dancers Chinese astrological animal sign. The design layers Yin/Yang imagery.

Catherine Thompson's sound score is a weaving of three "sound rivers" -folkloric (flute and cello), naturalistic (jungle and water) and urban (traffic and voices) which are combined to heighten the dramatic intention stage. The score is both oppressive and liberating, soothing and frightening, meditative and tension filled.

Sharon DiGenova's lighting design serves to create a definition between worlds - to isolate the dancers from each other and/or from the outside world. The lights also create an environment where the threat of external violence impinges on an oasis of intimacy.

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