THEATRE OF THE VISCERA
La Nef Manufacture d’utopies, Paris, France
Devised by Dominique Baron-bonarjee (concept, research, and movement)
Puppetry – Matt Jackson
Scenography – Ingrid Hu
Photography by Duncan Wylie
September, 2010.
Produced by La Nef Manufacture d’utopies, as part of an artist residency, this buton performance is inspired by Antonin Artaud’s concept of ‘body without organs’ and a story about organ transplant. Using La Nef’s former brick factory space as a base, the scenography involves a series of elastic and moveable draperies hoisted in the space, allowing the performers to experiment with objects and movements, and transform the interior landscape of the space through this interaction. The result is an installation performance incorporating butoh dance, puppetry, and live music.
LONGPLAYER BOWL INSTALLATION
Trinity Buoy Wharf, London
Fabrication and installation – Littlehampton Welding Ltd
Structural Engineer – Tall consulting Engineer
Photography by James Whitaker
Longplayer is a one thousand year long musical composition conceived and composed by Jem Finer. It began playing at midnight on the 31st of December 1999, and will continue to play without repetition until the last moment of 2999, at which point it will complete its cycle and begin again.
Ingrid was commissioned to design a display and storage system for the 234 singing bowls that are part of the 66-foot-wide orchestral instrument used to perform Longplayer Live. The idea is based on a circular form evoking the movement of the Longplayer Live instrument and of the cycle of the music itself.
Each tier of the structure, containing 39 bowls positioned sequentially, corresponds to one of the six concentric rings of the Longplayer Live instrument. The curvatures are derived from the diameter of each bowl, allowing the handmade bowls to stand out.
The steel structure was installed in the Lighthouse, Trinity Buoy Wharf – home of Longplayer - in autumn 2012.
ZERAFFA GIRAFFA
An Omnibus Theatre and Little Angel Theatre co-production
A play by Sabrina Mahfouz
Based on the book by Dianne Hofmeyr and illustrated by Jane Ray
Director – Elgiva Field
Puppets and Puppetry – Matthew Hutchinson
Set and Costume Designer – Ingrid Hu
Composer – Candida Caldicot
Lighting Designer – Oscar Wyatt
Sound Designer – Jon McCleod
Cast – Ashton Owen, Andre Refig, Nadia Shash
Photography by Ellie Kurttz
21 September – 4 November, 2017 Little Angel Theatre, London
25 Nov – 17 Dec, 2017 Omnibus Theatre, London
Production for Young People aged 0-7
Based on the book by award-winning children’s author Dianne Hofmeyr, Zeraffa Giraffa is inspired by the true tale of a giraffe and its keeper Atir. Sent as a diplomatic gift from the Great Pasha of Egypt to the King of France in the 1820s, the story follows the various stages of the epic trip taken by these two companions. The pair are thrown through terrifying storms and encounter all sorts of nerve jangling creatures – and not to mention locals – before they arrive in France where no one has seen an animal like Zeraffa before.
Working in close collaboration with the creative team, the design of the stage and costumes evolved from ideas based around children’s perception of the visual world. Objects, scenery and costumes transform with and by the puppets and performers in unexpected and imaginative ways.
★★★★★ “a delightful production” Theatre Bubble
★★★★ “This is such a creative production with spellbinding surprises galore for the little ones, not to mention the wonderfully mature themes of difference and friendship”
Everything Theatre
★★★★ “interesting insights for all ages to ponder on”
London Theatre 1
Light / Dark
SU-EN Butoh Company, Uppsala Concert and Congress studio, Sweden
Installation performance
Filament LED light bulbs, cables, paper
Choreography - SU-EN
Light installation - Ingrid Hu
Music - Mikael Stavöstrand
Performers - Madeleine Holmund, Heiko Klandt
Photography by Ingrid Hu
We perceive light because we experience darkness. It is never just one or the other.
For over a century, we live as if we no longer rely on daylight. It is a paradox of wanting both. Artificial light presents a physiological dilemma, and more so in a place like Sweden where duration of daylight varies from one extremity to the other.
The installation is a response to this constant power negotiation between light and dark, seen and unseen. An artificial topography of light that evolves and adapts around our changing body. At the centre, a luminous element remains constant, reminding us the physical reality that dictates our natural world. This topography illuminates, in total darkness, and in our mind.
Invited by SU-EN, the collaboration started with a research and development period around light as a material. Using commonly available domestic light bulbs, the process involved dipping light bulbs in paint to reveal the glowing filament and making the glass to be its own light shade.
Produced by SU-EN Butoh Company and Uppsala Konsert & Kongress, Sweden
