Kate and Welly in ‘Famuli’. Welly holds on to Kate’s neck as Kate pushes her away. Photograph by Matthew Niemc.
high ceilings and the manager of the space
it also indicates that as artists, we have
informed us that if the balloons floated up
in that scenario achieved our objective;
there, they would never get them down. In
that this process would not take itself
this moment the camera had been left on
too seriously and that we would strive to
as we recorded the day’s rehearsal. I lost
maintain a focus on creating a duet that
my grip on the ribbon holding the balloon
was about the real us and our real bodies.
and as it floats away, I saw myself jumping up, laughing in an attempt to retrieve the
The following section presents a description
balloon. I then observe my expression, my
of ‘Famuli’ from my perspective. Informal
eyes and body language indicate a shared
modes of writing are employed to provide
moment with O’Brien (she is not visible
insight into the personal nature of the
on the film, but I know that I am directing
practice and my immediate response to it.
my disbelief at her and she is reflecting it back to me). This moment is one of my
Downstage there is a single bench. O’Brien
favourites in the film as it speaks clearly
sits on the edge of the bench looking away
to my working and personal relationship
from the point where I enter. I walk slowly
with O’Brien. In terms of our collaboration,
towards her. I have a balloon tied to my
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