Some events in life call into question our entire understanding of the world, exposing a reality where anything can change at any moment. Drawing on the universal human experience of grief and loss, Concrete Impermanence prompts audiences to reflect on how global events impact on their own experiences of trauma. Sculptural objects and performers connect on stage to create an ever shifting set of states; the dancers are at home with the objects in one moment, then attempting to build with them, sheltering under them, crushed or concealed by them. Through these relationships and environments we reveal the fragility of human existence; in its tragedy, its poetic beauty, in the inevitable reality of a fragile existence and in the acceptance that this is ok. Impermanence is the only thing that is concrete.
Concrete Impermanence is created with both deaf and hearing audiences in mind.
Adelaide Festival Centre
Substation – Melbourne
Dance Massive – Melbourne (development showing)
“The sculptural forms punctuate both space and movement, provoking our imaginations. [Their] successful integration […] is a credit to Alison Currie and all […] who assisted in the development and realisation of this performance. The dancers performed an energetic and dynamic experience of contemporary theatre that pushes the boundaries of dance.”
“Alison Currie’s premiere contemporary dance work, Concrete Impermanence, was intriguing, innovative, edgy and abstract, exploring the fragility of existence and the strength of the human spirit. […] The dance pieces are innovative and ingenious which encourages you to explore the complexity of life: layered and transcendent.”
“Concrete Impermanence [channels] the inexorable motion of things into the bodies of humans and the fibres of cardboard. All atoms. All in constant flux. All in the process of unbecoming. Yet, in the end, just when you think you’re in a world of quantum gravity […] you are returned to the body. To the visceral experience of impermanence.”