Passion takes up the theme of sacrifice that plays through all the work of the company, leading its audience into a re-enactment of the Stations of the Cross.
In the glass cabinet.
The audience is divided. Those who can afford it are escorted to their private viewing area, to be served champagne and smoked salmon throughout the show. The rest risk the edges of the performance space, clad only in black lingerie. In the glass cabinet.
The audience mingle with the performers on the performance floor, which might be a kind of soirée or Don Giovanni’s ball. In the glass cabinet.
Presents images of a theatre struggling to move beyond the exchange of desires, beyond even the carnal itself. The performers attempt to break the endless cycle of impersonation and to submit themselves to the supreme gaze. In the glass cabinet.
A frenzied meditation on theatrical obsession, a festive overture of histrionic suffering and flapping genitalia. In the glass cabinet.
Celebrates whales in verse and photographs, and in an anthology of prose writings from the worlds of science and literature.
Against the background of the disembodied voice a visceral and sado-masochistic exchange between bodies makes voyeurs of its audience. In the glass cabinet.
A single row of audience members around the edge of a performance space A curtain sometimes running across it cutting the space (and the audience’s view) in two. In glass cabinet.
Drawings, designs and sketches for Kantor's performance 'Let the Artists Die'.
Anthology of scores, scripts, instructions, diagrams and documentation of art works that are meant to be heard.