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Pass
Projection and performance by Rachel Gorman Score by Erick Fabris Commissioned by Stage Left Productions for Balancing Acts Festival December 5 & 6, 2008. Big Secret Theatre, Calgary This performance refracts clinical observation of, and horror movies about, the bad child through narrative fragments and video-scape. I used structured improv techniques to attempt to recover my childhood movement vocabulary that emerged as I both resisted and internalized psychiatric, disability, gender deviance, and delinquency labels. |
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Transit
Installation and performance by Rachel Gorman Curated by Nahed Mansour Commissioned by FADO Performance Inc. March 2, 2007. Toronto Free Gallery An investigation of the racialization of political suspicion, this performance invites the audience to engage in forensic investigations of the subject through airport surveillance technologies, and to examine narratives constructed through fragments of metadata extracted through state and family violence, and the denial of political histories. |
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Passing Dark
Choreographed by Rachel Gorman Performed by Perry Augustine and Spirit Synott Original score by Lucas Silveira Costume design by Michelle Turpin Commissioned by Dusk Dances 10th Anniversary June 29-July 4, 2004. Dufferin Grove Park, Toronto “Gorman set her Passing Dark in the drained wading pool... using the centre concrete waterworks, as well as the slanted concrete floor to good advantage. The former is a place to sit, pose, and reflect, while the latter is a perfect showcase for the wheelchair’s melancholy journey… The work is filled with moments of quiet touching, as Synott tries to engage Augustine… their muted emotional distance is one of intense sadness.” Paula Citron, ‘Wheelchair dancer a fresh dusk delight,’ Globe and Mail, July 1, 2004, p. R4. |
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Shelter
Choreographed by Rachel Gorman Performed by Alana Ferguson and Rachel Gorman Live music by Lucas Silveira fFIDA fringe Festival of Independent Dance Artists August 17-20, 2000. Alexander Parkette, Toronto This performance uses repetition, duress, and exhaustion to work through the affective ties of queer youth surviving poverty and homelessness. The movement vocabulary was based in art-wrestling approaches to weight sharing. Previewed in NOW Magazine, the work was set outside next to the festival venue and LGBT theatre Buddies in Bad Times, so the exiting theatre audience became implicated as witnesses to structural violence. |