PLAY showcases the work of four international artists, graduating from the inaugural MFA Scenography course at the Royal Central School of Speech & Drama. The exhibition presents a diverse body of work, ranging from set design, installation, and live art, which explores the dynamic and innovative interplays between the body, space and time.
PLAY deploys and mobilises the triple meaning of its title: as an activity engaged in for enjoyment; a piece of performance that tells its story through situations that imitate human life; and a framework for creation and creativity through manipulation of space and the elements that compose it. In doing so, PLAY synchronously becomes both a theatrical performance as well as an experimental ground, in which the four artists manipulate and work with various materials, spaces and techniques. To this end, Play an infection and invasive experience
In Estar, Greta Landers presents an interactive installation through which multiple bodies are able to experience a play between the different layers of the physical space and the moving bodies. The visitor is encouraged to participate and ‘be’ part of Estar.
In Remnants, Leanne Vandenbussche shows a series of experiments through which she attempts to break Richard Wagner’s hyper-controlled scenographic environment by manipulating and altering them in a continuous process of deconstruction and reconstruction.
Dallas Wexler’s performance piece, Prosthetic Gods uses liveness as a means of critiquing the digital age by bringing into question digital identity, presence and aesthetics. (Prosthetic Gods features performances by Danielle Summers, Emilie Largier, Nikita De Martin and Cecilia Watts.)
Wenjiao Wang’s piece, A Midsummer Night’s Utopia is an exploration of Shakespear’s A Midsummer Night’s Dream. Here, Wang uses water as a medium to create visual effects and manipulate physical experiences.