C.o.r.r.u.p.t.e.d 1 1998
Rather than a moral or ethical corruption, the digital meaning of 'corruption' refers to defect or damage to data. C.o.r.r.u.p.t.e.d 1 uses this digital premise as a point of departure to explore a poetic of malfunction. By imposing various limitations and unusual movement tasks, the dancers are made to move in awkward and unnatural ways. The resulting work is both a physical and psychological manifestation of corruption.
C.o.r.r.u.p.t.e.d 1 premiered in October 1998 as part of a triple-bill entitled Fleshmeet, which also featured The Rogue Tool and C.o.r.r.u.p.t.e.d 2. Obarzanek's C.o.r.r.u.p.t.e.d 1 and 2 gave early hints at the choreographer's ongoing interest in the radical possibilities new technology offers dance-makers, featuring an errant digital file whose data corruption results in an eerie projected fever dream – a quicktime pantomime fleshmeeting a repairman in a scenario both blackly comic and viscerally disturbing.
Creative Team
Choreography Gideon Obarzanek
Musical Composition Luke Smiles/Motion Laboratories
Costume Creation Joke Visser and Anna Tregloan
Lighting Design Damien Cooper
Design Concept Gideon Obarzanek
Screen Creation Alan Robertson
Computer Graphics David Tyndall
Original Performers Brett Daffy, David Tyndall, Fiona Cameron, Byron Perry, Lisa Griffiths, Kirstie McCracken
Artistic Director Gideon Obarzanek
Executive Producer Angharad Wynne-Jones
Premiere Date
September 1998 Sydney
Touring Season
1998 Melbourne
“This Australian modern-dance company from Melbourne brought blasts of choreographic excitement to the Brooklyn Academy of Music Harvey Theater when it appeared as part of the 2001 Next Wave Festival.” The New York Times.
“Strongly conceived and arrestingly choreographed and designed physical theatre” The London Times.
