Idealverein

Jan 22 — 24, 2020
Field:

Performance

Location:

Grand Luxe Hall, Western Front

Time:

8:00 p.m.

Description:

Directed by Mike Bourscheid, Idealverein was a performance featuring Alison Denham, Ralph Escamillan, Ed Spence, Kate Franklin, Germaine Koh, and Erika Mitsuhashi. Choreographed by Justine A. Chambers, the performance took the form of a six-player game that unfolded over three evenings in the Grand Luxe Hall. Yellow tape on the floor demarcated the court where performers competed in a strangely intimate game drawing on kindness, cleverness, wild chance, and bodily strategy.

Idealverein unfolded as a set of considered improvised movements, alliances, gestures, actions, relationships, commitments, questions, and moods. The players wore uniforms designed by Bourscheid that included numbered leather aprons and platform sandals elevated by forged steel—both fitted with supports for raw and boiled eggs, sausages, lipstick, cigarettes, orange disc cones, wind instruments, and other props that dictated the players’ movement. Throughout the game, the players shuffled, slid, and crawled across the play space, moving in and out of huddles while exchanging their plans for action. Each period of play was marked by a whistle and the announcement of each team’s total points. While the objective of the game was ambiguous, it became clear as the performance progressed that there was no opposition as all of the players were working towards collective goals. Translating to “non-profit organization” from German, Idealverein proposed an absurd but tender model for being in relation to one another based on reciprocity and care. 

Presented in partnership with PuSh International Performing Arts Festival. 

Video documentation of this performance is available upon request.

Performers huddle together into a pile formation. They are positioned inside a square cordoned off by yellow tape on the carpeted floor of the Grand Luxe Hall. A seated, onlooking audience surrounds them at the tapes perimeter.
Two performers stand with elevated platform shoes in the Grand Luxe Hall before a seated audience. One performer touches their wrists together while spreading their hands apart. The other performer faces the audience and fully outstretches their arms with their index and middle fingers pointed.
A performer marked by the number 13 on their apron touches the back of another performer with a hand holding a bundle of long grey hair. A third performer frames the scene with their back to the camera, body facing the audience, and wrists crossed over one another.
Performer Alison Denham crouches over a wooden disc affixed to metal supports, cutting sausage links on top of its surface.
Legs of a performer wear mid-calf black socks in platform sandals elevated by metal bars. They are positioned across from another performer blurred in the distance. The back of the sandals have metal hooks from which sausage links hang.
One performer lies on top of another performer who leans back against an obscured figure. The performer on top of this pile of bodies turns their head to face the trailing rings of smoke being blown upwards by the performer beneath them.
A group of performers lean against one another in a standing pile. A seated audience watches the scene from behind yellow tape on the carpeted floor.
A group of performers leans and rests their arms on each other in a standing pile. Each performer bends and faces a different direction.
Four performers filed into two lines stand across from each other. One performer feeds another performer a hardboiled egg. A third performer looks at the gesture, while the fourth turns away.
A performer wearing elevated platform sandals bends down to cut pieces from a bundle of long grey hair. The pieces of hair fall to the carpeted floor near two small orange cones.
A row of four performers touch, separate, and twist the hair of the person in front of them. The hair from the first and third performers in the row comes from their own ponytails, whereas the hair of the second performer in the row comes from a bundle of grey hair attached to their front.
Performer Kate Franklin bends down from her elevated platform sandals to pick up an egg off the carpeted floor. She holds one arm close to her midriff, cradling two other eggs.
A performer looks downwards as a hardboiled egg seemingly slips out of their mouth. Two other performers watch the scene unfold from in front of a seated audience, one leaning on the shoulder of the crouched other.
Three performers stand in row. The performer in the middle bends backwards to meet the outstretched arm of the performer at the back of the row holding out a wand of blue liquid lipstick. The performer in the front of the row has their back to the scene and holds a hardboiled egg with two hands.
A performer wipes the mouth of another performer with a white cloth. Two other performers stand off to the side behind them.
A performer numbered 7 on their apron scrunches their face tightly while holding a hardboiled egg in their mouth. Two more performers stand to their left and face this gesture. One of the two studies a cord from the outfit of performer number 7, while the other holds a different egg awkwardly to their side.

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Western Front is a non-profit artist-run centre in Vancouver.

We acknowledge the xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and səl̓ílwətaʔɬ (Tsleil-Waututh) Nations as traditional owners of the land upon which Western Front stands.