In
a Japanese Zen garden, researchers believe that the rocks are
strategically placed so that in the empty spaces between the objects,
the observer detects an image, without being aware of doing so. These
detected images are unique to the viewer’s perspective, and can change
depending on the location one views the garden from. Like a Zen garden, C!RCA’s The Space Between
explores not just the apparent physical bodies of the performers, but
the nothingness and everythingness of what exists in the space between
the performers, each other and the theatre-in-the-round audience.
C!RCA’s The Space Between is a physical collision between deceptively simple and amazingly skilful. Performed
by three highly skilled circus practitioners, (Darcy Grant, James
Kingsford-Smith and Chelsea McGuffin) and directed by C!RCA Artistic
Director Yaron Lifschitz, The Space Between focuses on the power of human contact and separation through the use of acrobatic and aerial circus acts. This
multi-media production also combined graphics projected onto the floor,
with a soundtrack of industrial noises and French love-songs, which
accompanied the physical action of the performers.
Evocative, sensual and ambiguous, The Space Between is an open performance that invites audience interactivity. With such theatrical openness, the audience can truly enter the ‘spaces between’ and experience these voids for themselves. The space between the performers creates the relationships of the piece.
While The Space Between is not in anyway a narrative, it is interpretative. One recurring relationship appears as intense and dark yet has a sense of innocent naïve love. Another relationship is playful and domineering, while yet another is explorative and mystical. These
tantalising snippets of connection with an idea or a feeling tumble
over each other like three acrobats performing complex synchronised
tricks, which funnily enough it is exactly that. The skill of the performers cannot be stressed enough. Supple,
smooth, and arousing, much like the French language which accompanies
it, moments such as the beautiful trapeze duet and the violent
‘stuck-in-the-mud’ gymnastic solo will remain with viewers for a long
time. Witnessing Chelsea McGuffin lift a grown man into a
standing position on her shoulders is inspiring, and the subtle humour
that occurs during moments of broken expectations is refreshing.
However, it is noticeable that for much of the performance the tissue and the swing appear neglected. For
at least the first thirty minutes of the performance these areas are
ignored, and I was slightly impatient to see the performers use these
spaces. But in essence these were just another space - a
space that doesn’t need to be filled with a person to still create
intrigue and power.
Sometimes I was uncertain if the performance suited theatre-in-the-round. There
seemed to be a few obvious choices made, particularly when McGuffin
performed a handkerchief solo, where she simply rotated slowly on the
spot so that everyone would see her subtle hand movements. However
the relationship created by the space between McGuffin and her
surrounding audience was certainly intriguing, if not entirely
‘theatrically’ successful.
The Space Between
is not only captivating by its awe-inspiring physical feats, but also
by it’s downplay of these feats in favour of exploring the relationship
they produce. Take a step into this liminal space between theatre and circus and you won’t be disappointed. Beautiful and poignant, The Space Between certainly does credit to Australia’s new circus reputation.
Roundhouse Theatre Presents the space between Circa
Venue: Roundhouse Theatre Dates: 28 March – 9 April; Preview - 27 March Times: Mon, Tue & Wed 6.30pm (except opening night), Thu – Sat 8pm Opening Night: Wed 28 March 8pm Tickets: from $20.50 - bookings fees apply Bookings:www.roundhousetheatre.com.au or 07 3007 8600
The Hypocrite | Melbourne Theatre Company
Outstanding among the actors is Garry McDonald, who blasts on to the stage with a tempestuous energy, sweeping the play along in a torrent of words.
Read more
In
a Japanese Zen garden, researchers believe that the rocks are
strategically placed so that in the empty spaces between the objects,
the observer detects an image, without being aware of doing so. These
detected images are unique to the viewer’s perspective, and can change
depending on the location one views the garden from. Like a Zen garden, C!RCA’s The Space Between
explores not just the apparent physical bodies of the performers, but
the nothingness and everythingness of what exists in the space between
the performers, each other and the theatre-in-the-round audience. 
