Celina has been choreographing for a number of years, notably in installation and site specific settings, as well as in film and on stage. Her work tends to place a strong focus on the spectator’s participation and their role within each piece, be it active or passive. Often commenting on social or political lines of question, her use of humour and realism endeavours to ensure the work remains accessible to a wide range of audiences. Her work has been presented both nationally and internationally in venues including, the Victoria and Albert Museum, V22, Linbury Studio Theatre (Royal Opera House), Robin Howard Dance Theatre, Peckham Space, South London Gallery, Galeria Walk&Talk (PT) and the Sharon Disney Lund Dance Theatre (US).
The script goes like this:
00:00:10 00:00:13 00:00:15 00:00:18
Your ass upstairs, talk to them, apologize.
I have a family dinner planned for tonight, and you’re not gonna ruin it because you guys can’t get along.
(DOORBELL RINGS) ♪♪ ♪♪
My God, they showed up.
‘Performance’ what does that even mean?
Spanning the space between objects and bodies in action, the work examines notions
within and around the subjects of ‘performativity’ and power structures in correlation
with contemporary rituals, props and bodies in action. Often, we invite collaborators with various skill sets participate in the performances creating a malleable stage for improvisation. A stage that offers the opportunity for handmade props, costumes and sets to be animated by amateur actors, friends and professional dancers. Our protagonists are usually sexually ambiguous, hyper-constructed, wearing pink costumes, with gelled hair and make up on
The script goes like that:
One: Between the body and the props, the performance appears.
Two: 'Performance' what does that even mean?
Spanning the space between objects and bodies in action, Lea Collet's work occupies the space between extremes; freedom and direction; script and words lost in translation, chaos and control, taking different shape and forms. It is a question of thinking of performativity and its critic, fabricating its forms and its tensions. Through the creation of video, installation and performance piece, her practice uses collaborative acting, abstracted physical movements and dialogue, sound, objects and obscuring structures to create a malleable stage for improvisation.
Olivia works as a performance artist, choreographer and movement therapist. Her work references the ‘present’ moving into the future using the audience as part of her process. She believes that in rehearsal, the facilitator’s personalities are in flow. They have freedom of expression but why should the spectator not be involved or be allowed to witness this? By bringing different temperaments and cultures together, we aim for debate and a manifestation of thought. Olivia aims for ultimate realism, seeing the performers and audience members for ‘who they are’. Working predominantly site specifically she draws the performers (both the spectators and facilitators) away from conventional theatre in order for all to claim a united sense of authorship and responsibility.
Olivia also collaborates with Antonio Branco and Riccardo T. when a naked female body is required.