The Chekhov PREMIERING IN 2025 In The Chekhov, two performers wait through a series of crises, an endlessly changing series of scenarios, that move constantly between comedy and tragedy. Waiting for Greta Thunberg to solve the climate crisis.Waiting for Ukraine to win the war, still.Waiting for Bergen
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/the-chekhov/" align="left"]APOLOGIA PREMIERING AT MALTHOUSE THEATRE IN AUGUST 2024 The second work in The Interpreters trilogy about the dramaturgy of translation and the act of interpretation. A translator struggles to reconcile her relationship with her mother, two disappointed tourists in Paris argue about apologies and forgiveness, and a
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/apologia/" align="left"]The Interpreters A writer looking to translate a script from English to French engages a French translator, but the simple act of translating of a text becomes a process of self-translation and transformation. On a dark stage, language becomes sound and words become images. Since 2020, I
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/the-interpreters-part-1/" align="left"]Spelling Spectacle New work by Ingrid Berger Myhre premiering at SPRING Festival Utrecht in May 2023 – about logic, consequence and possibility. With “if, then” as undercurrent, the piece asks what a coherent choreographic train of thought can be or look like. What conditions the following, and
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/spelling-spectacle/" align="left"]Working with Children (2020) The third iteration of a work that asks: what are we protecting children from? A choreographic essay that uses a live rehearsal with a group of 11-12 year olds to think through ideas around vulnerability, the risk of exposure and the ethics of
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/working-with-children-iii-2020/" align="left"]Working With Children (2019) Working with Children is a choreographic essay that looks at the problem of intimacy and exposure by exploring the nature of performance and the curiosity of artists who make contemporary performance with children for an adult audience. The work plays with improvisational and
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/working-with-children-with-children/" align="left"]New Bergen Players (2019 – ) In January 2019 I began working with 10 women aged 65+ in Bergen, Norway. The aim of the collaboration is to make a series of performances and playful interventions in and around the city. Our first performance together was at KODE
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/new-bergen-players/" align="left"]Working with Children (2018) A choreographed essay that explores the ethics of working with children and the relationship between language and the (sexualised) body and between naming and authority. This is the first of three versions that interrogate this theme: this iteration about power and its abuses,
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/working-with-children-2/" align="left"]Mermermer (2016) “Witty, joyous and disconcerting, Mermermer blends the irreverent, absurd and everyday into a quirky style of comedic physical theatre… Unpredictable and mesmerising.” Eammon Kelly, The Australian “Rubbing the body parts of high and low art, thoughts and trance-like action, deadpan and real, Lloyd and Gunn,
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/mermermer/" align="left"]Piece For Person And Ghetto Blaster (2015) Piece for Person and Ghetto Blaster is a confrontational muse on peace and conflict, moral relativism and the very function of art. The story came from something that actually happened. I saw a man throwing stones at a sitting duck
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/piece-for-person-and-ghetto-blaster/" align="left"]The Interpreters, a study (2017) At the beginning of his presentation, a speaker made a joke through an interpreter and after a few seconds the whole room burst into laughter. He was pleased that finally an audience had appreciated his joke. At the end of the meeting
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/the-interpreters/" align="left"]A Social Service “A Social Service unites an acute sense of the ridiculous with a sophisticated appreciation of the ways art effects social change, for good or ill. Its comic brilliance will have broad appeal, but the intricate engagement with the ethics behind aesthetics make this one
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/a-social-service/" align="left"]Queens on a Rug (2016) Filling in time, taking up space, taking up one another’s space, filling in one another’s time. This is a mash-up of work created with Jo Lloyd in a 3-hour performance that re-plays and re-orders material from forwards to backwards and backwards to
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/queens-on-a-rug-2016/" align="left"]Green Screen (2014) Green Screen was in part inspired by this quote from Buckminster Fuller: ‘If success or failure of this planet and of human beings depended on how I am and what I do… How would I be? What would I do?’ In the work, two scenes
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/green-screen-2/" align="left"]Inside Outside Stephen Bram’s L3, E29, NGVI This performance took place over 8 consecutive hours in Stephen Bram’s spectacular architectural sculpture, Level 3, E29, NGVI. The performance was a response to Bram’s installation that was designed for gallery viewers to move through, sit inside, regard, and to
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/inside-outside-stephen-brams-l3-e29-ngvi/" align="left"]In Spite of Myself (2013) “She is a master of recursion. Gunn possesses, to a profound degree, the ability to suspend contradictory thoughts seamlessly in the same space. At the centre is her riveting performance, which enchants the audience from the moment she appears on stage. If
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/in-spite-of-myself-2/" align="left"]Hello my name is (2012) “Gunn’s quicksilver wit and the fearless eccentricity of her stage persona superimpose the tongue-in-cheek and the fearfully earnest in an utterly unique way… This is an uplifting and effortlessly clever show. Nicola Gunn is an extraordinary comic talent.” The Age Hello my name is
[read_more text="Read more" title="Read more" url="http://www.nicolagunn.com/hello-my-name-is-3/" align="left"]At The Sans Hotel (2010) An emotionally evocative and intricate psychological detective story. Loosely about, yet having nothing to do with a schizophrenic German woman who arrived at a hotel in the middle of the desert, At the Sans Hotel is an investigation into indecision and loneliness,
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