tramway 1

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   ‘Astonishing - so life-like - the projection truly subverted the building fabric and made me look afresh at the space, requiring me to go back stage. Made visitors participants - interacting with the work, but “on stage” too.’
(Ben Spencer, February 2008)

‘I liked that we didn’t know what we’d hear on the headphones and then when I had them on it was still hard to tell what it was. And then to recognise that it was the backstage cue calling - the old language of theatre that I haven’t spoken myself in about 20 years - so familiar and so calm and so subterranean (architectural even...). I loved the warmth of the image on the wall and genuinely didn’t know what I was looking at precisely. There was something about the lighting or the projection that made the wall seem like a bit of an optical illusion - and yet it was so material and factual in its “content” - the electric box, the cabling, the brick. I had to go behind the wall [...] to compare. And then I had to feel the front of the wall to figure out what its surface actually looked like - I couldn’t see it properly underneath the projection until I felt it and then I could see it. That was a great theatrical trick and I enjoyed being compelled to investigate the space and its properties and to appreciate all its different properties.’
(Jen Harvie, February 2008)

 

  

 

  

‘There definitely seemed to be some fascinating play or give in the usual boundaries of control [...] in the sense that the works were granting participants new freedoms, which were not always recognised or acted upon instantly - for example, as people gingerly made their way round the back of the Tramway 1 wall.’
(Tristan Partridge, February 2008)

‘The muscle of this work is its sanctioning of entrance to otherwise prohibited space - Tramway’s stage and backstage. Here we occupy the role of performer and observer. While imagined voices, interchanges and movements of its past performances become recollection - “real”, all shimmering and immediate. And in the light of my practice as an artist who works with performance this encounter is intoxicating.’
(Alex Hetherington, a-n magazine, April 2008)

‘Performance features as traces [...] in the recordings of the backstage crews - the show created in the mind - I don’t know what the shows are - I might imagine all the shows I have ever seen and indeed try to remember what I know I have forgotten - more performances in my head.’
(Marisa Zanotti, February 2008)