<BR><small>Carol Brown in 'Shelf Life'</small><P><B>Carol Brown/Esther Rolinson - Machine For Living</B><P>Here are the calendar details from the <A HREF="http://www.danceumbrella.co.uk/menu.htm" TARGET=_blank><B>Dance Umbrella website</B></A>. Click on the coloured dates for programme information and on the venue name for theatre details.<P>Here's a link to a <A HREF="http://www.criticaldance.com/ubb/Forum5/HTML/000714.html" TARGET=_blank><B><BR>positive review</B></A> from a US visit of this London based performer.<P>And a review of <A HREF="http://www.guardian.co.uk/reviews/story/0,3604,327349,00.html" TARGET=_blank><B>'Shelf Life'</B></A> from The Guardian.<P><BR>

<B>CAROL BROWN AND ESTHER ROLINSON</B> <P>Press Release <P>Visual artist Esther Rolinson and choreographer Carol Brown sculpt space with light, movement and metal in Machine for Living an art and performance event at Greenwich Dance Agency at Greenwich Borough Halls, London SE10 8 - 10 November 2001 as part of Dance Umbrella <P>“The neatest possible justification of live art: life, simply being turned into art.” The Guardian on Brown and Rolinson’s Shelf Life <P>Visual artist Esther Rolinson and choreographer Carol Brown present an unmissable art and performance event at Greenwich Dance Agency from 8 to 10 November as part of Dance Umbrella. They have created a Machine for Living . <P>Thirteen huge perforated steel panels hang in the vast spaces of the Greenwich Borough Hall. Layered with animation, bodies and movement, the panels create shadowy rooms, inhabited by five dancers. The viewers move around the space, changing perspective, getting caught in the action, catching sight of brief encounters. Machine for Living expands the arenas of installation and theatre, condensing time and space into a series of fabulous and elegant movements. <P>Architect David Adjaye, board member of Greenwich Dance Agency, says, “The juxtaposition of the metal panels and the soaring 1930s art deco hall should be a dynamic complement to the fluidity and mobility of the dancers’ bodies. This installation will provide spatial relationships that are both grand and intimate.” <P>Greenwich Dance Agency, along with the Laban Centre at Deptford Creek and the reopening of the Horniman Museum, is part of the renaissance of South East London, hailed by some as London’s most exciting new cultural quarter. <P>

WHO: CAROL BROWN<BR>WHEN: THU 8 - SAT 10 NOVEMBER <BR>WHERE: GREENWICH DANCE AGENCY<BR>TICKETS: 020 7387 0031 (The Place Box Office on behalf of GDA)<P><BR><B>CAROL BROWN: APPETITE FOR MOVING</B><P><BR>Carol Brown, the brainy Jerwood Award winning dancer and choreographer originally from New Zealand, and artist Esther Rolinson have named their 70-minute performance installation Machine for Living. The title - and the piece's departure point - stems from certain practical yet utopian ideas of Le Corbusier, the famous Swiss-born French architect who propagated the notion of the house as a 'machine for living.'<P>"We've taken hold of his ideas and twisted them," says Brown. Some of her and Rolinson's concerns include: How do the spaces we inhabit rub off on our bodies? What are the geometries between us, literal and metaphorical? In trying to suggest some answers the pair have enlisted as collaborators three other dancers, sound-sampling classical composer Pete M Wyer, and lighting designer Michael Mannion.<P>The piece is designed to occupy large, open spaces (like the Umbrella 2001 venue, Greenwich Dance Agency) with no fixed seating. This invites what could be called a perambulating perspective. Ah, but what are we perambulating amongst? Thirteen perforated, five-metre steel panels that slice into sections. Pushed forward and back, they also function as projection surfaces for digital animation. A quartet of dancers moves through this industrialised environment, the physical embodiments of distance and proximity, separation and merging, leaning into and away.<P>Alluding to "the gymnastic thinking of today's audiences," Brown wonders "How does that translate into their appetites for moving?" Her previous works include Shelf Life and Nerve. Machine for Living is yet another attempt to "prise open the idea of what dance is. How is it perceived? How do we look at it?" With each new piece, Brown crosses aesthetic boundaries and pushes her background in European dance-theatre into the more multi-dimensional, multi-sensory 21st century. "It's such a loaded space, theatre. I'm interested in playing outside of that. How do we draw new audiences and encourage other ways of seeing?"<P><BR><P>------------------<BR>This interview was posted by Stuart Sweeney on behalf of Donald Hutera.<P>Donald Hutera writes regularly on dance and arts for The Times, Evening Standard, Time Out, Dance Europe, Dance Magazine (US) and Dance Now. He is co-author, with Allen Robertson, of The Dance Handbook.<P>This interview first appeared in either the Spring or Autumn 2001 editions of Dance Umbrella News. <BR> <BR>Join Dance Umbrella's mailing list to receive future editions of Dance Umbrella News. <BR>Call: 020 8741 5881 <BR>Email: mail@danceumbrella.co.uk <BR>Web: <A HREF="http://www.danceumbrella.co.uk" TARGET=_blank>www.danceumbrella.co.uk</A>