Universal Drive Double Bill

TAPAC Theatre, Western Springs, Auckland

01/10/2010 - 03/10/2010

Tempo Dance Festival 2010

Production Details

Universal Drive has been devised this year as a development of Prime Cuts.

Providing an opportunity for two choreographers to present more substantial works.

 Anna Bates’ Pro-Posing brings to life the hyper reality of the body building industry and Timothy Podesta arrives from Sydney with his dancers to present Visceral, a high energy work exploring the driving forces of human behaviour.

Universal Drive:
1-3 October, 6pm, 6pm, 8pm
(60 minutes)
TAPAC, Motions Road, Western Springs, Auckland
$30 Adults/ $27
DANZ members and Concessions

Visceral (28 mins)
Choreographer: Tim Podesta (Australia)
Dancers: Jana Castillo, Emma Corbett, Rebekah Grulke, Miranda Pertsel, Daniel Jones, Akexander Todd (all Australia)
Music: Infra by Max Richter, Tracks, 1,10.11
The Chameleon Project by Christopher Harrison

Pro-Posing (revisited) (28 mins)
Choreographer: Anna Bate (NZ)
Performers: Anna Bate, Mariana Rinaldi, Kerryn McMurdo
Original Sound by  Sally Nicholas and Josh Tilsley
CandyLand by Cocorosie
La Maison de mon reve  Tracks 7, 9, 25
Nine Inch Nails ; GhostNPA British Finals by Deep Squatter
El Liogero vs El Generica by Wrestle Television
Pom Pom by Mr Ananba


Knickers add a common touch

Review by Bernadette Rae 05th Oct 2010

Universal Drive is a new addition to Tempo’s dance festival formula, continuing on from its Fresh Cuts and Prime Cuts which have so successfully enabled, in previous years, newly emerging choreographers and those reaching their prime to show what they are up to in combined programmes of shorter works. 

Universal Drive provides for established choreographers to present some longer and more fully developed work. First up in 2010 are Kiwi Anna Bate and Melbourne’s Tim Podestra with two half-hour long and wildly disparate works. [More]
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Subconscious minds & posing bodies

Review by Roxanne de Bruyn 03rd Oct 2010

Universal Drive brings an interesting new addition to Tempo’s TAPAC season, allowing two established choreographers to create and show longer, more developed works than Fresh Cuts and Prime Cut do. Visceral and Pro-Posing complement each other well, the two styles contrasting coming together for a well rounded programme.

Tim Podesta’s Visceral is a high-energy performance, which gives the audience an intriguing look into the instinctive drivers of human behaviour. The dancers and music transition smoothly between scenes, the movement fluid and staccato in turns. 

Exploring the subconscious mind, the work is vibrant and cyclical, sometimes repetitive then suddenly breaking out as the dancers unleash themselves and restrain each other. There is a sense of escape and release, with the recurring themes creating a sense of entrapment which can never be completely overcome.

Grotesque and graceful by turns, each movement is precise and performed with a sensual, earthy abandon. Starting together and breaking into pairs, before coming together again, the fast pace continued, with rhythmic jumps, lifts and falls. The transfer of weight and position between dancers is intriguing; their interactions moving from loving to controlling.

Visceral is an expressive and intense work, performed with intensity and conviction. The dancers throw themselves into it and play well with the themes and each other, alternately becoming and escaping from their demons. It captures the boundary of paranoia and lucidity, and hints at the possibility of freedom, which is ultimately unobtainable. 

Anna Bate’s Pro-Posing is harsher and slower moving. It examines the industry of posing and the face of change in an extremely detailed and somewhat unpredictable way.

Mariana Rinaldi, Anna Bate and Kerryn McMurdo portray bodybuilders, wrestlers and cheerleaders with close attention to their postures and facial expressions. These are often emphasised and stressed to the point of caricature, with ironic humour showing through at regular intervals. 

The use of video gives voice to the ideal in the industries and reflects the movement of the dancers, highlighting the similarities between current reality and the recorded past. It also lets audience see the contrast of the female dancers to the male bodybuilders on screen.

Pompoms are used throughout the piece, changing with costumes to create different identities for the dancers. There is a feeling of tension throughout, but it can be slow moving at times, and the dancers don’t seem to be stretched by the work. They use a lot of energy and precision, with a huge amount of focus and strength given to perfectly controlled and timed movements. 

Ultimately, it is a unique piece, which pushes some of the boundaries of dance. While the intensity and precision of this work probably won’t resonate with everyone, it gives a remarkable and humorous picture of the evolving image.
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