The dancers of the New Zealand Dance Company bring to life the full-bodied physicalising of the Bodenwieser movement with clarity and spirit. Kasina Campbell and Maryam Bagheri are also both beautiful and engaging performers, offering show(wo)manship and passion.
...a complete and uplifting cycle. Sorrow is a natural accompaniment to such an experience, and LOST + FOUND [dances of exile] acknowledges this. Yet the experience is not just a tour through loss, but also the discovery of new spaces, relationships, possibilities and realities that are created through displacement. Exile and escape are as relevant to our world today as they were in the 1940’s. Experiencing these themes through Bodenwieser’s narrative is not only a doorway to the past, but a way to connect to our global present, and a celebration of what is found, and is a way of experiencing Q unlike any other.
Revitalisation and Displacement
Theatre view, 13th October 2017
Set amongst the lush landscape of the Monte Cecilia grounds and embracing a range of different storytelling modes the performance is structured almost as if in a dream sequence where ghosts from the past move freely, intersecting with audiences, amidst a site that echoes with memories and unspoken stories.
Close Encounters with PAH
The Big Idea
'The Pā Collective's concept for this production was nothing short of brilliant...'
PAH: Reviving Ghosts
National Business Review
'thrumming with the energy of the past'
Auckland Arts Festival Review
'stunning, ethereal and a joy to be a part of'
Gin MacCallum and Niki Cousineau danced like two wavering voices that hushed us and left us craving to hear and see them.
Two Dancers in Seed are a Spellbinding Pair
'tender, intimate and powerful...Carol Brown's Slip was remarkable, mixing private narratives with a penetrating analysis of vulnerability, identity and the strength of community.'
Touch Compass Triple Bill
DANZ August 2010
‘stunning…strange and thrilling’
on the changing room
‘What Hannah and Brown present in the moving images and moments of Aarero Stone,is a lamentation on a universal scale: one where we find perspective on our troubles by identifying with the suffering of ‘the other’’
'Beyond the Veil'
Theatre Forum, Winter/Spring2007, Issue 30, pp3-10.
‘Carol Brown was spellbinding in Aarero Stone where she examined themes of lamentation and myth. In an austere pageant of dance poetry, Brown told stories of women: tragic, bold and clandestine.’
on aarero stone
The Listener, December 30-January 5 2007.
Sometimes the live movement is very slow and voluptuous, at other times it is fast and knotty, but always the dancers have a lucious, fluid and grounded quality; while they share a vulnerability in their movement, the presence of the technology is so unassuming, so sensitive to what the dancers are doing, that we could forget it is there at all.
The effect that is created through the combination of dance and digital imagery is highly emotive and even visceral at times. Thomsen's patterns resemble growing organisms, swarming insects, unfurling blossoms, rapidly spreading coral reefs.... Images from nature and the restless, timeless sea and the busy life it contains are conjured up, as well as developing embryos and multiplying cells.
Deep Brown Sea Carol Brown Rides the Tech Wave
Flash Journal, , 11-3
‘The work which really stood out for me in Dance Umbrella for its boldness and imagination was "The Changing Room," … the three women performers are like pioneers on the verge of discovering a brave new world.’
The Changing Room
'Her virtuosity is one that revels in the detail of execution... Subtle brilliance.'
'Brown's meditative dance, isolated on her shelf, seemed an icon of contemplation, a little monto mori. It was the neatest justification of live art - life, simply, being turned into art.'
A Meditation on Glazing, St Pancras Church, London
The Guardian, Friday June 2 2000
‘Carol Brown defines for me what it means to be an innovative artist, once again she has collaborated with different complex and artistic groups to create astonishing work.’
on The Changing Room
The audience who inhabit the installation are lulled and mesmerized, some sit or lie on the floor, some sleep caccooned from the outside world, guided towards the virtual world by this reassuring material body.
Live Art Magazine, May 1999
'a riveting perfomrnace of a searing choreography such as not been seen here since Mary Fulkerson from Dartington Colelge of Arts danced out her eight-hour autobiography at the National Art Gallery in the late 1970s.'
Beautiful enough to shut Plato up
The Evening Post, November 9, 1995
Sleeping in Public