Year of Premiere 2000
Premiere
Season Credits
Performers
Creative Personnel
- Choreographer: Kim Itoh
- Music: Pan-Sonic/Arvo Part/Achim Wollscheid
- Lighting Designer: Margie Medlin
- Costume Designer: David Anderson
Production Crew
- Stage Manager: Briony Leivers
- Lighting Assistant: Michele Preshaw
- Sound Operator: Byron
Scullin
Introduction
Japanese choreographer Kim Itoh was commissioned to create a new Chunky
Move work for the Melbourne International Festival. The result was Butterfly
and Me, a work with a heightened sense of the absurd, which blended butoh
with drama and contemporary dance. The work was presented alongside Ei
Fallen by Phillip Adams (BalletLab) and Gideon Obarzanek’s Crumpled
as a triple-bill entitled Combination No. 3.
Concept
Butterfly & Me: human relationships in society expressed in movement.
For example, these relationships can be sympathetic, rebellious, close,
and distant. This communication with others is a vital issue for human
beings. In the process of human communications, a variety of phenomena
are articulated in dance, somehow exaggerated or abstract, utilising
the
basic techniques of Butoh dance and theatrical element. In this work,
these relationships and phenomena are symbolised by the dancer and the
butterfly.
Media Response
“Kim Itoh … (invested) ideas about movement with movement,
even to the point of having dancer Luke George complain hilariously and
volubly about the naff stuff choreographers ask dancers to do. Itoh’s
Butterfly and Me was an imaginative, sometimes complex interaction between
butoh, contemporary dance and theatre which showed off the dancers’
range and finesse to a tee,” THE AUSTRALIAN.
“Itoh’s dance company, Kim Ito + The Glorious Future, uses
wit and sarcasm to explore the exceptional in the ordinary. Butterfly
and Me seeks this out in terms of human relationships, and Itoh makes
good use of his grounding in Japanese butoh dance and theatre,” STAGE
LEFT REVIEW.
Performance History
Please click here
for details of Butterfly & Me’s performance history.
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