Hanna Cormick

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The Improfessionals present

IMPROFLICKS

A theatrical feast where the actors take turns directing each other on the set of Paris's only film festival improvised live on stage!

After each film the audience decides whether the director deserves to be awarded a Hollywood Star or... be given the punishment of a forfeit.

Any existing or conceivable film genre is likely to be explored.

On the set: The Improfessionals Mark Jane, Caspar Schjelbred, Florian Bartsch, Magnus Broomé and guest Hanna Cormick from Australia!

Surround THX Impro Sound: Peter Corser

October 19, 8.30pm

Duration: 2 x 40minutes
Tickets: 15 euros
Reduced rate tickets at BilletRéduc.com (10euros)

Péniche Antipode

face au 55 quai de la Seine, 19° arr, M° Riquet/JaurèsParis FRANCE

Music for Everyone's
THE SNOW QUEEN

Directed by Dianna Nixon
Masks designed and created by Hanna Cormick

THE SNOW QUEEN
A magical fairytale musical
6 - 13 October
Theatre 3, Acton
A wonderful holiday show and a magical music theatre experience for all ages. This adaptation of the celebrated fairy-tale by Hans Christian Andersen is set to the beautiful music of Edvard Grieg. A boy Kai and his sister Gerda are separated when Kai’s usually happy nature is fractured by the Hobgoblin’s magic, and he is captivated by the icy Snow Queen. Gerda’s courageous search for Kai takes her on a quest through many strange and wonderful adventures. She encounters talking flowers, spellbound snowflakes, a snooty reindeer, amusing royals and dancing crows. The young performers of Music For Everyone’s Act Up Sing Out program are led by director Dianna Nixon and assistant director Vanessa Nimmo. Fun and enchantment for the whole family!

Performances are at Theatre 3, 3 Repertory Lane off Ellery Crescent, Acton, from 6 October to 13 October.
Book through Canberra Repertory Ticketing on 6257 1950 or online at www.canberrarep.org.au plus there are tickets at the door. Visit the Music For Everyone website www.mfe.org.au for more information.

WHERE: Theatre 3, 3 Repertory Lane off Ellery Cres Acton
WHEN:Thu 6 Oct: 10.30am & 2pm
Fri 7 Oct: 10.30am & 7pm
Sat 8 Oct: 2pm
Sun 9 Oct: 2pm
Mon 10 Oct: 2pm
Tue 11 Oct: 10.30am & 2pm
Wed 12 Oct: 10.30am & 2pm
Thu 13 Oct: 10.30am & 2pm

TICKETS: $15 children/concessions/adults
BOOKINGS: www.canberrarep.org.au  6257 1950 Mon - Fri 10am - 4pm

GROUPS: For holiday programs & large groups $9 per child, required accompanying adults free. Visit www.mfe.org.au to download group booking form. Bookings essential: Music For Everyone 02 6230 7190 info@mfe.org.au
Canberra AUSTRALIA

Last Man To Die
presents
THE LAST MAN TO DIE: INSTALLED
As part of National Science Week 2011

Welcome to the future… have fun living forever

Step  into the distant future and look backward in time at THE LAST MAN TO  DIE, a performance/installation from the future that YOU control. Join  us as we explore the emotional and social consequences of artificial  extension of human life.

Last  Man To Die returns to Canberra to present an installation event based  on their acclaimed nationally touring work THE LAST MAN TO DIE.

Featuring  computer augmented performer Hanna Cormick, Charles Martin’s live  electro-percussive soundtrack, the interactive visuals of Benjamin  Forster and the writing of Peter Butz.

August 22
7.00/8.30
August 23
11.00/12.00/1.00/2.00/7.00/8.30
FREE- bookings essential

(OR)

                                                                                                                                  image by Robert  Coppa

Devised and Performed by Hanna Cormick

7pm
July 14
Jalan Raya Desa Mas
Mas, Ubud, Bali INDONESIA

7.30pm
August 6

Belconnen Arts Centre
118 Emu Bank
Canberra, AUSTRALIA

$20.40/$14.40
Bookings www.belconnenartscentre.com.au

Following in the footsteps of such prolific theatre artists as Peter Brook and Julie Taymor, Cormick delves into the magical world of Balinese Mask practice through mentorship with famous Mask maker and performer, Ida Bagus Anom.
Cormick is mentored by Ida Bagus Anom through Jump, the Australia Council's national mentoring program for young and emerging artists.
This unique work combines traditional Balinese performance with Cormick's considerable skill in theatrical forms of Mask.

MEET THE ARTIST

MEET THE ARTIST – HANNA CORMICK, ARTIST IN RESIDENCE AT BAC
Saturday 28 May; 2:00 – 4:00pm

Hanna Cormick is in residence at Belconnen Arts Centre developing a project as part of the Australia Council's JUMP National Mentoring Program for Young and Emerging Artists. Hanna has been selected to explore cross-cultural collaboration in the areas of Mask making and Mask performance under the mentorship of famous Balinese Mask maker and Mask dancer, Ida Bagus Anom. Please come and view Hanna in action, and find out about this fascinating and exotic cross-cultural artform she is investigating.

Shadow House PITS presents
GEESE
directed by Joe Woodward

at The Courtyard Studio, Canberra Theatre Centre
CANBERRA

April 26- 30

Tickets $24-$28
Bookings:
6275 2700
canberratheatrecentre.com.au
tickets on sale from January 10th 2011

She prays fluorescent and she prays repressive, shielding her beliefs with God and will...
Don't miss GEESE; an evocative presentation of nightmares and euphoria from Shadow House PITS.

WARNING: Contains simulated smoking and obscene language.

For the YOU ARE HERE festival CANBERRA March 2011
Ira Gamerman's
PLAY BY PLAY

directed by Max Barker
starring Hanna Cormick & Remy Graham

Smith Dick venue
Civic Interchange

Tuesday 15th 8pm, Friday 18th 7pm

FREE

Impro Theatre ACT presents
Bubble Soup
with Caspar Schjelbred
from The Improfessionals in Paris
at QL2 Theatre
Block A
Gorman House Arts Centre
Ainslie Avenue CANBERRA

January 28- 30
7.30pm

Tickets $20
($15 concession and groups of 5+)

Bookings:
1300 851 055
http://www.impro.com.au/shows.php

Ingredients: 4 players, 1 musician. Put the players onto the stage. Add music. Carefully mix all players into a dance and wait until scenes and stories rise into the air like soap bubbles...

Bubble Soup is a continuous piece of improvisation in which the inspiration for the scenes comes from the actors' exploration of the space. It is a highly visual performance where drama and comedy are created from something seemingly similar to an abstract contemporary dance.

Stories appear and disappear, come and go, the only constant being the bodies in movement. Funny, dramatic, touching and surreal, Bubble Soup has no limits.

Bubble Soup is an original format created by our special guest, Caspar Schjelbred from "The Improfessionals" in Paris.

Gearstick Theatre presents
THE TIN SOLDIER
January 2011
From a Fairytale By Hans Christian Andersen

When a Little Tin Man falls in love with a Toy Ballerina they should live happily ever after. But when the Tin Soldier falls in love with the ballerina at the other side of his toy box he encounters a jealous fire goblin and must undertake an epic journey battling fur, fin and feather before he is reunited with his true love.

Gearstick   presents this classic tale  by Hans Christian Andersen in a magical   production full of music,  puppets and fun. A production not to be   missed.

Adult: $12
Concession: $10
RSL Members: $7

Last Man To Die presents
THE LAST MAN TO DIE

Fresh from their national tour, Last Man To Die presents their interactive museum installation from the future/past.

Starring Hanna Cormick, Benjamin Forster and Peter Butz, with hologram percussionist Charles Martin live streamed from Sweden.

at CCAS- Canberra Contemporary Art Space
Gorman House
CANBERRA

Saturday December 4

Day time interactive installation
Night time live exploration

LIES, LOVE & HITLER
by Elizabeth Avery Scott
directed by PJ Williams

at The Street Theatre,
cnr Childers Street & University Avenue
CANBERRA

November 18-27

2pm Matinee added November 27th
6pm Twilight show added November 29th- rest of season SOLD OUT!

Bookings:
62471223
www.thestreet.org.au

http://www.youtube.com/watch?v=xiJ5V-R7isc promo clip courtesy of Dallas Bland at Cut Rush Films

LAST MAN TO DIE'S WORLD TOUR OF AUSTRALIA

Welcome   to the future, Brisbane and Perth, have fun living for ever.

LMTD Tours is  pleased to  announce our guided explorations into the future/past of  humanity will  continue throughout September and October 2010.  Transtemporal entry  points and suspension of disbelief fields will be  activated at Brisbane  Festivals' Under The Radar, 14-17 September  at The Whitlam  room, Metro Arts and at Perth's Blue Room Theatre from  28  September to 16 October. 

"THE LAST MAN TO DIE" explores a future where  humanity  has triumphed over ageing and death and looks back at a time  when  people lived for barely a single century. You'll experience first  hand  the brave new world explored by those first immortals and the  choices  faced by the last to die.

BRISBANE FESTIVAL: UNDER THE  RADAR

TIME:  Tuesday 14th - Friday 17th of September

VENUE: The Whitlam, Metro Arts,  Edward St, Brisbane CBD: map

BOOKINGS and  INFO: http://www.brisbanefestival.com.au/Events/0,282,4747,028200906.aspx

FB: http://www.facebook.com/event.php?eid=110606108992940

THE BLUE ROOM:  YOUNG  ENOUGH...

TIME: 7:00pm, Tuesday - Saturday,  28:09:10 - 16:10:10

VENUE: The  Blue Room  Theatre, 53 James St Northbridge, Perth: map

BOOKINGS and  INFO: 9227 7005 or http://www.blueroom.org.au/blueroomseasons/lastmantodie

FB: http://www.facebook.com/event.php?eid=148379715188113

CREATIVE CATALYST
Spring Artists’ Forum

Saturday 11 September; 2:00pm
BELCONNEN ARTS CENTRE

All artists are invited to hear from a panel of ACT artists working  across several art forms sharing their experiences working in new and  challenging ways, with cross discipline collaborations and residencies!  Speakers include Anita McIntyre (President, Strathnairn Arts  Association), Jack Lloyd (Boho), Caroline Stacey (The Street Theatre),  Elizabeth Cameron Dalman (Mirramu Dance Theatre) and Hanna Cormick  (Actor & Founding Member of Last Man to Die). Complimentary coffee  and birthday cake to follow. Please RSVP on 6173 3300.

The Street Theatre Made in Canberra and Wild Voices presents

THE GIRLS

Unadulterated Cabaret

Starring

Hanna Cormick
Leah Baulch
Hanna Ley
and
Dianna Nixon

at The Street Theatre, cnr Childers Street & University Avenue
CANBERRA

July 29-31

Two shows nightly 7pm & 9pm

Bookings:
62471223
www.thestreet.org.au

THE LAST   MAN TO DIE

Pilot Showing

The Street Theatre
July 7, 8

8.30pm

All tickets $10

Welcome to   the future, have fun living  forever.

"THE LAST MAN TO  DIE" will  allow you to step into   the distant future and look backwards in time.  Join us as  we explore   the emotional and social consequences of artificial extension  of   human  life - as well as the theories and responses from literature, pop    culture  and the media.

This  performance /   installation involves interactions  between the  audience, live performers  and  computer driven audio and  visuals. The  theatre will be transformed into  an  abandoned museum  from the future  that celebrates humankind's ability to  extend their  lifespan  indefinitely.

During   the  performance, the  audience is free to walk around the performers,   exploring the work at  their own  pace. Daring spectators can even   choose to interact with the performers  and  become a part of the work.

Created by  Canberra based    cross-artform group, Last Man to Die, the work features actor, Hanna    Cormick,  artist, Benjamin Forster, percussionist Charles Martin and   writer Peter  Butz.

This   innovative  group  exploits cutting edge digital technologies to   provide an interface for  immediate  communication and interaction   between different art forms- each one  becoming a  data source for the   others.

Proudly   supported  by The ACT  Government and the Department of Innovation,   Industry, Science and  Research.

REFUGEE REALITIES

Large scale simulation with OXFAM

Stage 88

June 7-20 2010

10am-4pm new tours every 20 minutes, 190 minute duration

ANY BODY'S COOL

Schools Tour with MIEACT

May-June 2010

LAST MAN TO DIE
residency showing

PACT centre for emerging artists
Erskineville
SYDNEY

April 23-24

6pm-8pm

FREE

photo by Charles Martin

LOVE CUPBOARD
by Emma Gibson
directed by Peter Butz

at The Street Theatre, cnr Childers Street & University Avenue
CANBERRA

April 29- May 2

Thurs-Sat 7.30pm
Sun 4pm

Bookings:
62471223
www.thestreet.org.au

Seating Limited! BOOK NOW!

Media

2011-03-16T02:07:00.026+01:00

Award Nomination: Artshub Awards
THE LAST MAN TO DIE has been shortlisted for an Artshub Award for Innovation in the Arts. Get online now to vote in the People's Choice section!

click here to vote.

Article: The Canberra Times
A feature on Music for Everyone's THE SNOW QUEEN, featuring a lovely image of The Snow Queen Mask, in The Canberra Times. (Published October 2011)

Review: BMA
Emma Gibson has written a lovely review of THE LAST MAN TO DIE: INSTALLED for BMA.
(published 13/09/11):
The Street Theatre
Monday August 22 and Tuesday August 23

This
non-linear
installation performance piece incorporates music, visual arts, acting, mask work and some da

mn impressive technology in an exploration of human longevity (and potential immortality) and the possibilities and consequences for the future.

To begin with, the audience was uncertain, as we were herded onto The Street Theatre’s main stage and corralled there, behind the curtains, in a space demarcated by hanging transparent sheets. The mood was eerie and evocative, thanks to the music of Charles Martin and digital artworks of Benjamin Forster (and writer Pe

ter Butz) and it felt like we’d been plunged into a game without knowing the rules. In fact, the performance was controlled by the audience – we each had a coded ticket, which we could scan to trigger a new performance scenario. Hard-working actor Hanna Cormick appeared from a nook in the corner of the stage for some sequences, while others used projections of video and graphics.

In one particularly effective scenario, audience members had our faces ‘scanned’ to see if we were candidates for longevity (I, sadly, was not). Our own ghostly faces were later projected onto one of the four transparent walls. This scenario was repeated several times, but always different and Cormick’s customer service hostess character grew more and more belligerent.

I’m not sure how clearly the setting – a derelict museum exhibit of the future – came across to other audience members who didn’t have the benefit of back story that I did. But in the end, I don’t think it mattered. It provided a framework, a fiction, for the performers. And for those looking hard enough, the imagery was there.

Martin’s mesmerising music and percussion underscored most of the performance. One composition in particular stood out for me, evoking Vangelis’ iconic score from Blade Runner. It was a reference other film theory nerds would have appreciated; an echo of the film’s own exploration of concepts of longevity and the ethics around humanity’s use of technology.

By far the most technologicall

y impressive feat was a scene about jellyfish – in fact, a type of jellyfish that is essentially immortal. Images of these jellyfish were projected onto the walls and Cormick, fitted with something presumably like a Wii remote, entered the performance space and danced with them. Her movements controlled the movements of the projected jellyfish, flinging them from side to side, guiding them to glide from one place to another. The message – that by controlling the jellyfish, we have the potential to contro

l our own lifespans.

This was just one subtextual message of many, but you didn’t need to be able to excavate the deeper meaning of the performance to enjoy it. It’s not a show for everyone, but despite the philosophical subject matter, the audience interaction made it accessible and engaging.
for the online version click here.

Hanna Cormick

By ArtsHub ArtsHub | Thursday, August 25, 2011

Hanna Cormick is a professional actress who works in a variety of fields including screen, stage, interdisciplinary art and Mask. She is a graduate of the NIDA Young Actors Studio and Charles Sturt University’s Acting (Screen & Stage) degree. She is a founding member of the acclaimed interdisciplinary arts group Last Man To Die. Recent performances include the nationally touring THE LAST MAN TO DIE with Last Man To Die, GEESE with Shadow House PITS, PLAY (BY PLAY) for You Are Here and her solo devised work (OR) for JUMP, performed in Australia and Indonesia.

Hanna Cormick is currently being mentored by Ida Bagus Anom as part of JUMP, the Australia Council’s national mentoring program for young and emerging artists. www.jumpmentoring.com.au

What did you want to be when you grew up?
A Samurai Pizza Cat.

When did you know you would work in the arts?
I woke up one day and just knew.

How would you describe your work to a complete stranger?
I hook myself into electronics and get controlled by sounds and images, or I go into trance and become possessed by spirits and gods- sometimes I’m in movies too. Although usually I just say I’m an actress and don’t describe anything- other people tend to introduce it in whatever way they feel comfortable with.

How hard is it to be authentic in the arts nowadays?
Simultaneously easy and difficult- there are more opportunities to work outside of boundaries and to explore new platforms and styles made accessible by technology, which I find very exciting. However, it can sometimes be hard to find your own voice amongst what other people or artists think you should do- and everyone has an opinion.

Is there a mission to your work?
To make people feel. To open and expand possibilities, to raise questions- not to answer them and not to explain things.

What's your background - are there studies that prepare you for this?
I am a graduate of Charles Sturt University’s Acting for Screen and Stage degree with Distinction and Honours Class 1, as well as the NIDA Young Actors Studio. I am about to begin full-time study at École Internationale de Théâtre Jacques Lecoq. The mentorship through JUMP has also allowed me to learn and grow so much as an artist.

What's the first thing career related you usually do each day?
Breathe.

Can you describe an "average" working day for you?
There’s no such thing as average. Some days I’m up at the crack of dawn on location for a shoot, some days I spend all day and evening rehearsing for theatre, some days I sit carving Masks for hours and hours, some days I get wired up and turn my performer’s body into an interactive art computer with Last Man To Die. When I’m in Bali with my mentor I usually carve for seven hours or dance for two, and spend the rest of the day soaking up the culture and performances.

What else do you do to pay the bills?
Movement lecturer at the Canberra Academy of Dramatic Art.

What's the one thing - piece of equipment, toy, security blanket, – you can't work without?
My moleskin diary

What gets you fired up?
Maybe too many things- I’m a little fiery.

Who in the industry most inspires you?
My collaborators- particularly my partner filmmaker/writer Pete Butz, and my Last Man To Die collaborators percussionist Charles Martin and visual artist Benjamin Forster. The solo work they all do is really, really exceptional.

What in the industry do you despair about?
Close-mindedness and arrogance

What is the best thing about your job?
Performing

What’s the worst?
Instability (although that can also be wonderful in a way)

What are the top three skills you need in this industry?
Intelligence, an Open heart, Diligence

What advice would you give anyone looking to break into the field?
It’s equally demanding and rewarding- you have to give a lot of yourself to get a lot out of it.

How do you know when you missed the mark?
If I don’t risk anything

Which of the below phrases best suits your career development to date and why?

a. "The road to success is always under construction. "
b. "Opportunity dances with those who are already on the dance floor."
c. "Success is best measured by how far you've come with the talents you've been given. "
d. "No one can cheat you out of ultimate success but yourself."

A & B. The construction must occur from within the chaos.

When do you know you’ve made it?
There is no “made it”, only the never-ending ascent. It’s like dragging a boulder uphill through treacle, but I would never swap it for anything else. I think if I ever did reach the top of that hill, I’d just look for something else to climb.

click here for the online version.

Social Pages: CCAS

Canberra Contemporary Art Space social pages(Published 7/8/11):

(OR)

7 Aug

Youthful she may be but Hanna Cormick has been extremely active in Canberra over the last couple of years. Hanna is an actor who has crashed all art forms with Last Man to Die and there are few people in the ACT art scene who won’t know who she is. Now, in the repertoire expanding (OR) we see the results of her explorations into traditional Balinese wood carving and Kecak dance. Hanna has been mentored as part of Ozco’s JUMP program by Ida Bagus Anom who has an international reputation for extraordinary masks. Amazingly – Hanna has been carving masks as well as drawing on Kecak and Western theatre techniques to create this sophisticated hybrid event at the Belconnen Art Centre where she has been artist-in-residence. Hanna is a real trouper and for her each step is a great leap forward. Stay tuned for more JUMP mentees James and Emma Batchelor who will perform in Close Range at CCAS October 8. And prepare to be amazed.

Hanna Cormick

Alex and Peter

for the full CCAS social pages click here.

Artist Profile: BMA
The wonderful and extremely talented Cathy Hagarty was the artist profiled for BMA this month, and made a lovely mention of some influential Canberra actors. (Published May 2011):

CATHY HAGARTY

What do you do?
I’m an actress and an improviser in Canberra. I also work as a Captain Starlight at the Canberra Hospital by day and as a Duty Manager at the Street Theatre by night, when I’m not performing.
When did you get into it?
When I was about 5, my siblings and I would make up stories and performances for my family.
Since then I’ve been constantly involved in theatre although I started to make a proper go of it when I took a break from teaching. After four years as a high school teacher I had hit a wall. I felt incapable of teaching these young people to live their dreams when I hadn’t even given mine a go. Needless to say I never went back.
Who or what influences you as an artist?
Some of the great Australian improvisers; Patti Styles, Rama Nicholas, Cale Bain, Tim Redmond, Bec de Unamuno for their passion about creating beautiful pieces of theatre by constantly producing honest, committed and truthful play in improvisation. I can learn a lot from these improvisers.
Recently I trained with Ira Seidenstein in Brisvegas and was working through his physical method.
Also there are loads of Canberra actors and actresses that inspire me; Hanna Cormick, Cameron Thomas and Jordan Best just to name a few.

To read the full article click here.

Review: BMA
Rory McCartney has written a lovely review of GEESE for Exhibitionist in BMA. (Published May 2011):

In Review: Geese:

The Courtyard Studio
Saturday April 30
Patrons attending a performance of Geese were drawn in from the quiet streets of downtown Civic and injected into a surreal, alternate world of jagged emotion and unsettling questions about the meaning of life. Geese was produced by Canberra’s own Shadow House PITS experimental dance theatre, which seeks to use old and new media in exciting ways to explore the human condition. The production drew on the work of French writer Antonin Artaud, the originator of the theatre of cruelty, renown for its bizarre and emotionally demanding stage techniques. The plot centred on Simon Rodez, a disturbed man killed in a railway station accident which was witnessed by a young girl. Dressed in a plain white garment, painted white and hairless, the tragi-hero Simon could represent any one of us. His movements are affected by spasms as if he is driven by life forces over which he has no control.
The drama examines the effects on him of the three most significant women in his life, his mother and lovers, in scenes that flash before us in the split second before his death. In doing so, it dissects primal aspects of modern culture, seeking to discover what makes us tick, what turns us on and what scares or obsesses us. God equals war, sex equals revolution. Both Christianity and Judaism are examined under a harsh spotlight. The intent is to draw us down to a cultural zero, devoid of the standard behavioural norms. The production cleverly combines music, dance and drama in a multi-textured performance. Jarring sound is used to jolt the audience, literally making us jump in our seats. It is sometimes hard to concentrate on the spoken words as there is so much going on, especially when Braiden Dunn, as the randy Goose, goes on to ravish one of the characters off centre stage. In addition, throughout the play, The Painter continues to illustrate aspects of Simon’s life in a mural at the back of the stage. Amongst the angst, there is a moment of light relief in a brief Balinese dance. Geese stands as another achievement of Shadow House PITS in its mission to stimulate and challenge Canberra’s theatre goers.

For the online version click here.

Review: City News
Simone Penkethmen has written a lovely review of GEESE for the City News. (Published 03/05/11):

"GEESE's greatest strength is that it creates as rich and compelling experience for its audience regardless of their knowledge of the traditions it incorporates. The audience can easily connect to its cast of archetypical characters and to the unfolding of its disjointed plot that can be pieced together retrospectively. GEESE is a vibrant and impressive piece of contemporary theatre that deserves to reach new audiences across Australia and the world."

To read the full article click here.

Review: The Canberra Times
Peter Wilkins has written a lovely review of GEESE for T2 in The Canberra Times. (Published 28/04/11):

Review: Canberra Critic's Circle
Frank McKone has written a lovely review of GEESE for the Canberra Critic's Circle blog. (Published 26/04/11):

Geese written and directed by Joe Woodward

Geese written and directed by Joe Woodward. Shadow House PITS at Courtyard Studio, Canberra Theatre Centre, April 26, 8pm and April 28-29, 1pm, 2011.

Reviewed by Frank McKone
April 26

While I drove home from Geese in the middle lane equidistant from either verge on a dark section of three-lane freeway, a stationary white car appeared to my left. As the image grew I could see its bonnet was up like a wing suspended. Then I made out a dark formally dressed figure peering into the black hole seeming to be attempting to manipulate something impossible to see. All four emergency lights were flashing. As the image faded into my left rear vision mirror I found myself contemplating this person’s belief in do-it-yourself action without even tools, light or working clothes. Why not just wait patiently for Road Service to arrive? I thought.

Before my thought was finished, in my right peripheral vision movement caught my eye. An athletic figure in white was running, as if in training for some long-distance event, against the flow of traffic on the very edge of the right lane, on a right-hand bend. I was thankful to be in the middle lane as he disappeared in my right rear vision mirror, and could only hope that drivers in the right lane would miss him as he would appear suddenly to them out of the darkness, just in front of them, unexpectedly to their right.

Then it struck me that Joe Woodward had at last succeeded in making me understand Antonin Artaud. The images held briefly in my headlights were not part of my life as far as those other figures are concerned, but because I saw them they are now in my memory and I have pejorative thoughts and fears about them. I impose my conventions and expectations upon them.

Artaud’s conceit that we are only free when we escape from the hell of convention is not a philosophy to which I can subscribe. In Woodward’s previous works that I have seen, it seems to me that he wanted to embrace Artaud’s position, but the result was that what appeared on stage remained hidden in an impenetrable cloud of mystery, becoming sound and fury apparently signifying not very much.

Though in Geese many long speeches are soporific as characters expound their particular philosophical positions, in the end there is a structured storyline. There is a young girl who saw and briefly spoke to a disturbed man at a railway station in the beginning. When she reappears at the end, she switches on a radio news broadcast which neither she nor the others she meets listen to, but we hear as background noise words like Libya, Yemen and Syria. Suddenly the ‘Artaud’ characters’ views in the possible memories of the disturbed man, and his possible experiences, become relevant today. How much conflict, death, destruction and madness is the result of people’s obsessive insistence on carrying out the dictates of conventions like religious beliefs, unbending political positions – even perhaps being totally enamoured, speaking only in French, of the theatre of Antonin Artaud.

Geese is for the most part too heavy (rather than weighty) theatrically for my liking, but now it is openly about Artaud, the cloud of mystery comes but also goes, and the ending makes a valuable observation about the real world. “No one has ever written, painted, sculpted, modeled, built, or invented except literally to get out of hell” according to Antonin Artaud, but perhaps Geese is a step in the right direction for Woodward.
Posted by Canberra Critics Circle at 11:24 PM

For the online version click here.

Featured Artist: The Canberra Times
Sarina Talip has written this Q&A Interview for Panorama Magazine in the Canberra Times. (Published 23/04/11):

News: NewsWire artsACT
NewsWire issue 17 has featured a lovely article the Belconnen Arts Centre Residency and Australia Council's Jump Mentoring Program for Young and Emerging Artists.(published April 2011):

ARTIST-IN-RESIDENCE: HANNA CORMICK
Belconnen Arts Centre will be the home of exciting intercultural artistic collaboration this Autumn, with its new Artist-in-Residence, Hanna Cormick.
The Canberran actress and cross media artist is fresh off the plane from Bali, where she has spent the past month as part of the Australia Council for the Art’s JUMP National Mentoring Program for Young and Emerging Artists.
Cormick’s mentor in the JUMP program is world-famous mask maker and dancer Ida Bagus Anom. Over the next few months Cormick will Photo of Hanna Cormick be creating a series of masks by Peter Butz
and performance concepts using the traditional skills she learnt in Bali.
For more information, go to
www.belconnenartscentre.com.au

For the full publication click here.

News: The Chronicle
Meredith Clisby has written a lovely article for The Chronicle about the current Jump mentorship and BAC Residency.(published 12/04/11):

News: Canberra Times

The Canberra Times has also published the below article as "From Bali to arts in Canberra" in Times2. (published 05/04/11).

News: Daily Capital

Daily Capital has sent around this article Canberran Actress Hanna Cormick Awarded Artist Residency about the current Artist Residency at Belconnen Arts Centre (published 01/04/11):

Hanna        Cormick with mask

Artist in        Residence

Belconnen           Arts Centre will be the home of exciting intercultural  artistic          collaboration this Autumn, with its new Artist in  Residence,   Hanna        Cormick. 

The           Canberran actress and cross media artist is fresh off the  plane   from Bali,        where she has spent the past month as part of  the   Australia Council’s JUMP        National Mentoring Program for  Young and   Emerging        Artists.

Cormick’s           mentor in the JUMP program is world-famous Mask maker and   dancer  Ida Bagus        Anom, whose dynamic wooden masks have received    international acclaim and        have been commissioned by numerous    prolific theatre artists, including        Peter Brook, considered by    many to be the greatest living theatre        director. Ida Bagus Anom    has worked with Cormick in developing her skills        in various    traditional Balinese performance forms, including Mask dance        and    Kecak (a form of Balinese music drama), focusing around Balinese wood           Mask carving.

Over    the        next few months Cormick will be an Artist in Residence at    Belconnen Arts        Centre, where she will be creating a series of    Masks and performance        concepts using the traditional skills she    has learnt in        Bali.

"It           is very inspiring to explore the way in which various    traditional and        cultural forms can influence one another to    create modern cross-cultural        performance art. Instead of creating    a homogenised blend of culture, it        allows for a celebration of    the differences, and how these different        performance forms can    work together to create new vibrant art. It also        means I can  step   into performance realms I may never have otherwise         encountered   or imagined," explains Cormick.

Cormick    has        begun working in her studio at Belconnen Arts Centre,    combining        traditional Balinese forms with her expertise in    western Mask pedagogy.        She will also use a variety of materials,    including traditional Balinese        Pule wood and leather.

Cormick    will        return to Bali mid-year to further develop her  performance   with her        mentor, again as a part of the JUMP  program. This work   will be performed        in Bali, and then in  Canberra upon her  return.  For more information, go to        www.belconnenartscentre.com.au        or www.jumpmentoring.com.au

News: Jump National Mentoring Program for Young and Emerging Artists

Forty-nine young artists from around Australia were today announced as participants in the 2011 JUMP national mentoring program for young and emerging artists.(published 18/1/2011). See excerpt below:

YOUNG ARTISTS JUMP TO NEW CAREER LEVEL
As Australia’s largest artist mentoring program, JUMP promotes artistic excellence and champions the early careers of our future arts industry leaders.
The number of 2011 mentorships well exceeds the number delivered last year, and participants cross a broad range of artforms from community arts and theatre to Indigenous arts, music, visual arts, dance, literature, interdisciplinary and hybrid art.
Run nationally by Youth Arts Queensland, the program is funded by the Australia Council for the Arts, the Australian Government’s arts funding and advisory body, as part of its Opportunities for Young and Emerging Artists initiative.
Youth Arts Queensland collaborates with Carclew Youth Arts (SA), Propel Youth Arts WA, CarriageWorks (NSW) and Melbourne Fringe (VIC), who oversee the program for local artists and their mentors.
Julie Woodward, CEO for Youth Arts Queensland, said that that JUMP’s national profile, and the substantial artistic and career outcomes demonstrated by the first round of JUMP mentees, attracted more applications to the competitive program.
“This year, we’re thrilled to welcome artists representing all of the Australia Council’s artform areas, with mentees hailing from all states and territories, along with mentors from across the country and internationally,” said Julie Woodward.
Hanna Cormick (ACT) will be mentored by Ida Bagus Anom (Bali, Indonesia) – dance, theatre, visual arts

The full press release can be found online here.

Public announcement: Shadow House PITS
Joe Woodward wrote a touching statement about training for GEESE(published 13/1/2011).

Public expression of huge appreciation for ACT artists

I am writing to personally acknowledge the commitment and generosity of spirit displayed by a group of Canberra artists comprised of Professional and Community participants who ventured to Caloola Farm on January 7 - 9.

As we began on a new theatrical journey to create the production of GEESE, I was very deeply and emotionally moved by the level of openness, honesty and willingness to struggle with new approaches and challenging material.

A glimpse of the work and conceptual framework for its development can be accessed here in the video Bali To Rodez which features the cast and crew on the first orientation creative development at Caloola Farm.

I wish to especially thank Hanna Cormick (movement) and Damien Foley (music) for providing such professional and supportive input and facilitation of this exciting process. I also thank Alison McGregor for leading the warm up session on Saturday. And I wish to publicly thank and praise the work of the entire Shadow House PITS company for their joy, willingness and efforts offered at Caloola Farm for the GEESE project and Shadow House PITS. :

Alison McGregor
Anna Voronoff
Braiden Dunn
Carolyn Minchin
Damien Foley
Hanna Cormick
Jack Spahr
Jessica Fairbairn
Josh Sellick
Katie Woodward

Click on the link for Bali To Rodez and see that it isn't just a lot of "crazy Artaud" stuff that took place, rather part of a very real injectin of creative energy into the artistic potential of the ACT and our cultural development.

Joe Woodward

A video of the process, including interviews with Hanna Cormick, can be viewed online here.

In a rare move for Canberra, the whole Shadow House PITS theatre company located to Caloola Farm via Tharwa for an intensive creative development orientation session for three days that saw them immersed in the intricacies of Balinese dance.

Hanna Cormick, returned
from the Bali Artaud Fringe Festival having worked with the Balerung Dance Company there and experiencing the very same dances that inspired the writings of French surrealist Antonin Artaud.

The work had particular
significance for Shadow House PITS as it began preparing a new theatre production, GEESE, inspired by the life and writings of Artaud.

Damien Foley leader of the big band, Who's Ya Daddy, began composing music for the the cast to expand on the movement and themes of the work. All this took place in the idyllic surroundings of Caloola Farm.

Blog: Canberra Contemporary Art Space

Canberra Contemporary Art Space had some nice things to say about our recent installation and performance, THE LAST MAN TO DIE, on their blog(posted 5/12/2010). See excerpt below:

“Its been raining for a week now and the people of Canberra are in shock. Just as LMTD were about to open at CCAS last night there was another serious storm and thus the audience was wet … soaked in fact. But LMTD were not even damp as they presented their latest exploration of the future/past. Earlier in the day one punter noted of the interactive installation, that they didn’t want to see the show because it was too modern. So someone’s getting it right here.”

Online with social photos here.

Review: Real Time

Douglas Leonard wrote a smashing review of THE LAST MAN TO DIE for Real Time Magazine(issue Dec

-Jan 2010).

the last man to die

"The two installation performances that most impacted on a richly textured, deeply poetic level were the technologically sophisticated The La st Man to Die and the noir moodiness created in Of the Causes of Wonderful Things. (Unfortunately I didn’t see Neon Toast, but I heard great reports.) When I said to the crew of The Last Man to Die that the work reminded me of the library scenario in a David Tennant episode of Dr Who, they told me I was on the money. Normally I’m averse to multimedia overkill, but here the futuristic setting warranted, and vindicated, its skilful use, creating a subtly retro aesthetic to match the artists’ retrograde view of the immortality industry. Black and white time-lapse video of the production was projected on the back wall so that you recognised yourself ‘back then.’ As the hard working central performer, Hanna Cormick was costumed as a sexy cover girl from a 1950s sci-fi magazine. Ev erything was accommodated in the glow of a black and white film aura before the invention of technicolour; and each episode returned at the whim of an audience member placing a card in the alloted slot. We were in Borges territory, caught up in a maze of fine writing by Peter Butz and fine acting by Cormick with whom, as sadistic collaborators with technology, we were forced to repeat in an endless loop. Immortality."

View online here

Award Nomination: Blue Stone
Hanna Cormick has been nominated for a Blue Stone Award (Best Individual Performance) for her work in THE LAST MAN TO DIE.

THE LAST MAN TO DIE was also nominated for Best Production and Best Production Team.

Review: City News

Helen Musa wrote a nice review of LIES, LOVE & HITLER for City News(published 24/11/2010).

View online here

Review: Canberra TimesDaniel Sanderson wrote a nice review of LIES, LOVE & HITLER for Times2 in The Canberra Times(published 23/11/2010).
See excerpt below:

"All three actors give creditable performances... Cormick brings an unsettling ambiguity to the role of Hannah that leaves one wondering how long the play's final resolution is likely to hold out."

The Full version is online here.Review: Australian Stage Online
Trevar Alan Chilver wrote a nice review of LIES, LOVE & HITLER for Australian Stage Online(published 19/11/2010).
See excerpt below:

"Writer Elizabeth Avery Scott has produced a delicately textured work that explores philosophical and ethical matters within the solid grounding that a strong plot provides. The story of Langley and Hannah is expertly juxtaposed with Bonhoeffer's own, and the interwoven stories are balanced brilliantly to provoke examination of Bonhoeffer's theological teachings."

"...Hanna Cormick likewise provides Bonhoeffer's lover Maria for a moment as well as the uptight sexual harassment investigator in between her highly sophisticated delivery of her main character; Langley's student, Hannah Summers."

"This cast has been expertly brought together by Director PJ Williams, and the strength of the ensemble is matched only by the set and lighting designs."

The full version is online here.

Review: The West Australian

David Zampatti wrote a nice review of THE LAST MAN TO DIE for The West Australian (published 6/10/2010).
See excerpt below:

"Last Man to Die collective’s self-titled hybrid-arts show on tour at the Blue Room is an engrossing piece of futuristic fantasy... the performance is cleverly structured so you “get it” as it goe s along, and the audience participation is non-threatening and often a lot of fun...Actor Hanna Cormick works through a physically and emotionally demanding performance with vigour and surprising nuance; at one point I was startled to see a tear fall down her cheek during a monologue she’d performed hundreds of times and, indeed, more than once during this show."

The West's version is online here.
And David's unedited version is on his blog.

Artist Profile: BMA

http://www.bmamag.com/articles/artis t-profile/20100708-hanna-cormick/

Column: Artist Profile | Date Published: Thursday, 8 July 10 | Author: Naomi Milthorpe | 1 week, 2 days ago
BMA Artist Profile

What do you do?
Actress and founding member of cross-art group, Last Man to Die
When did you get into it?
First play age 14, started working professionally in 2002, went to acting school mid 2003.
Who or what influences you as an artist?
The pedagogy of Jacques Lecoq, Keith Johnstone, Margaret Cameron, Italo Calvino, the RSC actors, the beautiful artists I work with – and a horrible, desperate need to perform. My current work is being heavily influenced by Aubrey de Grey and Craig Venter. I sometimes wish I was John Hurt, this week I want to be Matt Smith.
What’s your proudest moment so far?
Being interstate for an amazing huge production with Griffith Theatre, and getting a text that Last Man To Die had received government funding for 2010 – I did a dance around my hotel room. Going to my first feature film premiere. Being invited to sit in on an international panel of Mask practitioners at the MasQue Festival in Helsinki. Working with my partner, writer/filmmaker Pete Butz.
What are your plans for the future?
Last Man To Die goes transcontinental, study acting (again) in Paris. Some more screen time would be nice, too.
What makes you laugh?
The IT Crowd
What pisses you off?
Running late.
What’s your opinion of the local scene?
All those who make a living of their art in Canberra have to work their ass off to get there, which has created an amazing core of dedicated, hard-working, and brilliant artists – the works made here have a really unique perspective.
What are your upcoming performances?
Last Man To Die on July 7 & 8, an interactive interdisciplinary art pilot showing before national touring later in the year, and The Girls, from July 28 – 31, an unadulterated cabaret co-starring Dianna Nixon, Leah Baulch and Hannah Ley.
Both shows are playing at The Street Theatre.
Contact Info
hcormick@gmail.com

Review: Australian Stage Online
Trevar Alan Chilver wrote a nice review of LOVE CUPBOARD for Australian Stage Online(published 30/4/2010). See excerpt below:

“What Gibson has done remarkably well is to develop from this plot a great story that seems to focus on the point at which young love either turns into long love, or dies.

Annabel, our school-age cupboard-dweller, made a decision to leave her family and friends and live with her boyfriend, Warren, in secret. Ensconced all day with books about love as she waits for Warren to come home from work, and hidden in a cupboard whenever someone comes to visit, Annabel’s existence fails to live up to the ideal in the stories she reads. Two years later, with police still searching for her, her parents still distraught, the media still hungry for an end to the story, and everyone focusing their questions on Warren, Annabel must compare her life in fiction with her own experiences of doubt, loneliness and frustration. This exploration is carried out magnificently by Hanna Cormick, who absolutely shines in this production.”

The full version is online here.
Review: Gearstick Theatre WebsiteSarah Jones wrote a nice review of RUBY MOON for The Gearstick Theatre Website(published 19/8/2009). See below:

“Gearstick has hit the top gear with this production. I was completely taken away to Flaming Tree Grove. Hanna Cormick and Adam O'Brien had the unenviable task of morphing into various different characters. All totally believable! Thanks Gearstick - keep up the good work!!”

Online here.

Review: Gearstick Theatre WebsiteM Campbell wrote a nice review of Skin Deep for The Gearstick Theatre Website(published 19/8/2009). See below:

“Skin Deep is an interesting piece with a somewhat "Conspiracy Theory" feel, about a committee member and a character she goes to meet who I would best describe as a weird loony bent on changing the world one assassination at a time. It struck me as a very visually engaging piece with a strong visual throughout… I think Skins was strangely creepy as the Man and Hanna Cormick was funny and brilliant as the bubbly, passionate Member. The direction of this piece appeared to be confidently relaxed, with great use made of the visual and comedy.“

Full version online here.

Review: Australian Stage Online

Adrienne Goss wrote a nice review of OCEANS ALL BOILED INTO SKY for Australian Stage Online(published 29/11/2008). See excerpt below:

“Along for the ride in the Mitsubishi Starwagon is the audience, whose smiles and quizzical looks are prompted by expressive cast members and an overall quirky production.

Oceans Boiled Into Sky is a sci-fi black comedy, a 75-minute single act described in publicity as a ‘road-trip coming of age story.’ I’d describe it more of a realisation of consciousness, as we can’t escape our subconscious, it’s hiding in the steam and just when you think it has lifted, it just rains back down - the things we try to block, the other person you want to be.

The characters begin their journey from a cave after being issued a mission by a priest (the Thatcheresque Hanna Cormick) to save the human race.

The play itself was nominated in 2006 for the Max Afford Award, a national playwriting competition. He has worked on the script since 2005 and has recently brought it to the current iteration with director Barb Bennet who makes the most of the small space and embraces the constraints, by considering every minimal movement made by the actors, such as facial expressions and stances.

Overall each character was expressive and clear, bringing movement to a static situation whereby they flawlessly spoke their lines from a fixed place non-stop for 75 minutes. The confusion of each character’s purpose was a bit brain-draining. But then so too can be a Shakespeare play with all the Bottoms and Pucks and Oberons lurking about with their respective motives. Just go along for the ride in the sexy Starwagon and enjoy the groove of the funky music and frenetic scripting with the quirky Canberran characters.”

The full version is online here.

Press Release: Jon Stanhope

Arts Minister Jon Stanhope had some wonderful things to say about OCEANS ALL BOILED INTO SKY (published 28/11/2008). Excerpt below:

“Recent home-grown theatre productions were evidence that Canberra was capable of producing contemporary theatre on a par with anything produced by the bigger capital cities, Chief Minister and Minister for the Arts Jon Stanhope said today.

"In the past few days two quite different local productions have premiered, bringing home to me yet again the depth and talent of our local performing artists," Mr Stanhope said.

"The Messenger, at Canberra Youth Theatre, and Oceans All Boiled Into Sky, at The Street Theatre, are both engaging and challenging productions of a quality equal to anything anywhere in the country. Both works were written, directed and delivered in Canberra primarily by local talent and I commend all involved for their achievements.
Oceans All Boiled Into Sky, by Canberra playwright David Finnigan, also premiered in town this week. The show has been produced by local company Serious Theatre in collaboration with David Finnigan and musicians from the Australian National University School of Music.
"Oceans All Boiled Into Sky is another outstanding locally written and locally produced work," Mr Stanhope said. "Taking the form of a live radio drama, it is a memorable production that gives a new twist to some familiar Canberra places. Like the Youth Theatre production, it is at times confronting in its message and its language.
"We are lucky that there is such a diverse range of quality local productions each year suited to audiences of all ages. The two that premiered this week are probably best suited to audiences from the late teens onwards.
"As Arts Minister I am continually impressed with the quality of local theatre, and to have two high-quality productions in the space of a few days makes me not just impressed, but proud. I urge all Canberrans who might not have attended local theatrical performances in recent times to do themselves a favour this summer and see what our artistic community is up to."

The full version is online here.

Review: City NewsJoe Woodward wrote a nice review of OCEANS ALL BOILED INTO SKY for City News. See excerpt below:

“Serious Theatre has presented an innovative work that integrates all aspects of text, sound, multi-media and human sculpture into a series of pictures for the audience’s imagination.

Writer David Finnigan says he was ‘creating obstacles and hazards to make the director and cast’s job as hard as possible’ and writing ‘semi-unstageable battles’.

This required considerable focus from all involved to create a finely crafted sound and visual sculpture that allows the audience to imagine things appearing as if from real life fragments and dreams. It means the reference points for the audience’s experience are drawn less from traditional theatre and more from the likes of ‘electronic musicians who use the sound of broken and decayed machinery to build a beautiful aesthetic’. Finnigan suggests Kid 606 as an influence.
barb barnett was exacting in drawing out sharp voices tuned to strong rhythmic qualities from the actors. The ensemble playing was a lesson for all performers. This was complemented by a superb soundtrack that intertwined with amplified voices to shape the imagery of the text. The slight measuring of the sound graphics to suit the characters’ voices added to the feel of a recording that could be listened to on headphones.
Visuals were important and well used in a constrained way by the cast of five: Lloyd Allison-Young, Chris Lloyd, Raoul Craemer, Virginia Savage and Hanna Cormick.”

Online here.

Review: BMA Magazine

Naomi Milthorpe wrote an awesome review of OCEANS ALL BOILED INTO SKY for BMA Magazine(published December 2008). Excerpt below:

"Serious Theatre’s show was… Awesome. Director Barb Barnett took David Finnigan’s po-mo dystopia by its fractured, multi-voiced horns to create a live radio play that ticked all the boxes of compelling, original theatre. Five actors (Lloyd Allison-Young, Hanna Cormick, Raoul Craemer, Chris Lloyd and Virginia Savage) stood essentially still for 90 minutes as, through their different voices, they played out the story of seventeen year old Mack Finch, trying to take his driving test in a post-apocalyptic Canberra. Behind them, Gillian Schwab’s set sketched the broken bones of Canberra, a world dominated by steam and decay and monstrous things. Oceans all boiled into sky is what we hope for in theatre: every move, every change of the eerie light, every sound effect, every decision made by Barnett and her talented cast, contributed to the creation of a new world."

Review: Adrian WintleAdrian Wintle wrote a nice review of IN CINDERS LIE. See below:

“POTENT STORYTELLING INFORMS CINDERS
In 2005 David Wicks burst on the local theatre scene with his adaptation and one-man performance of The Winter's Tale, while earlier this year Gearstick Theatre produced Irreconcilable Differences, a breakneck tumble of scenes from Shakespeare devised and directed by Michelle Gaul aligning the considerable acting talents of Cormick, Mackenzie and Craig Higgs.

And now there's In Cinders Lie, very much standing in the recent tradition of turning the prism of Shakespearean texts to catch fresh nuances of meaning and again involving the fine eye of Michelle Gaul, ever alert to elicit theatrical potency.

Here the approach is novel if not startling, at least to playgoers inured to traditionalism: to interweave the Cinderella fable with Shakespeare's Hamlet. Thus Cinderella is presented as the tortured heroine, agonising over the pros and cons of achieving retribution.

This version economically utilises just two actors, Hanna Cormick and Kylie-Chay Mackenzie expertly varying their attack between central and peripheral characterisations and aided by multimedia infusion whereby key areas of the text are underscored by film projections. Wisely, the production is otherwise very simply staged, enabling viewers to concentrate fully on the unfolding of the story and its integral richness of language and imagery.

If retribution is high on the agenda, the story also contains areas of rough humour, in particular Mackenzie's beautifully bovine Rosencrantz cameo, while inevitably the story probes such teasing considerations as destiny, revenge, choices and fear.

Thursday night's audience literally hung on every word. The atmosphere of intense concentration must surely have reached out to Cormick and Mackenzie, who invested their performances with urgency and excellent emotional variety, whether individually or in very fluent ensemble terms. Cormick released controlled passion notably in the ghost watching sequence and its aftermath, while Mackenzie again displayed her versatility in making convincing transitions between comforting and scheming figures.

This production runs until Saturday October 27 and should not be missed by anyone valuing intense storytelling meshed with ingenuity in textual realisation.”

Review: Adrian WintleAdrian Wintle wrote a nice review of IRRECONCILABLE DIFFERENCES. See below:

Irreconcilable Differences, by William Shakespeare
Gearstick Theatre production at North Wagga Hall
Adaptation & Direction: Michelle Gaul
Cast: Hanna Cormick, Craig Higgs, Kylie Chay Mackenzie

“MINING THE LODESTONE
HERE'S a production that boldly mines the rich lodestone of Shakespeare's plays to yield an engrossing view of relationships, whether blissfully idyllic, soured by ambition or ill-starred by deceit.
Scenes from no fewer than 13 plays spring to life at the hands of three actors for whom Shakespeare's texts are springboards for vital realisation. The whole confection is played seamlessly, with each scene flowing smoothly into the next, creating a symphonic effect akin to a multi-stranded piece of music unfolding in inexorable fashion.
Love is in the air with Irreconcilable Differences, each scene distinct and timeless and infused with Shakespeare's brilliantly perceptive penetration of the whole human condition. The show is designed as a Theatre in Education production, coming hot on the heels of a recent visit from Sydney's Bell Touring Theatre and similarly concerned with defusing the pomp and ceremony often associated with Shakespeare. As with Bell, so with Gearstick: the playing is lively, highly articulate and relying almost exclusively on immediacy of acting with a bare minimum of props.
Cormick, Higgs and Mackenzie offer vibrant performances both individually and in ensemble format. If Hanna expertly draws out the wit of Beatrice, she is also capable of resonating fire, as with her Lady Macbeth, while all three actors rhyme powerfully in a scene from Antony and Cleopatra. Mackenzie also brings variety and passion to her various scenes, notably as Isabella in Measure For Measure and Hermione in The Winter's Tale although last night I thought there was slight falloff in vocal clarity with her Lady Percy.
Concerning Craig Higgs' contribution, I don't think I've ever seen him in better form, completely controlled and measured in delivery but at the same time utterly unafraid to explore his characters' dark side in menacing and electric style, as with his Hamlet and Macbeth. All three actors in fact mesh excellently, united by incisive realisation of text.
Michelle Gaul deserves plaudits first for devising this lively theatrical scenario, and second for securing such in-your-face playing from her cast. Shakespeare was never like this in my high school days, when we sat in the classroom awkwardly reading the plays aloud, bored witless in the process. Today's high school kids are lucky by comparison, particularly if they take the opportunity to catch a show like Irreconcilable Differences.
Irreconcilable Differences will be touring secondary schools throughout the Riverina during August.”

Review: Wagga Guide
The Wagga Guide published a lovely review of LONG GONE LONESOME COWGIRLS. See excerpt below:

“Hanna Cormick (Vicki) and Kylie-Chay Mackenzie (Rae) perform these classics with style and gusto. Cormick gives a perfect subtle performance as the once outwardly conventional but later independent femme Vicki, while Mackenzie is delightful as Rae, the outwardly-tough and freedom-loving barmaid from Toowoomba.”

Review: onlineTroy Dodds wrote a nice review of LOVE SONG DEDICATIONS for an online publication(published 13/12/2006). Excerpt below:

“The cast as an ensemble are tremendous, though there are obvious highlights…Hanna Cormick is sensational and convincing as 'The Goth', and is at times captivating to watch.”

JUMP Mentorship Blog

2011-02-20T11:37:00.060+01:00

Detailing experiences throughout the jump national mentoring program for young and emerging artists 2011.
Mentor: Ida Bagus Anom, Mas, Ubud, Bali INDONESIA

photo by Peter Butz

8/8/11
The performance showing for Australia is now complete. This version was extended to include a section of text (on the advice of Anom) which was the monologue that formed the basis for the Bride's choreography, as well as a longer introductory section to slowly ease the audience into this new world. Video projection of the performance in Bali was utilised to help create the atmosphere of Kecak. The attendance was very positive and people were astonished by the Masks.

For now, the project is finished, although I will surely revisit the work (and Bali) again in the coming years- and the new skills I have learnt will be invaluable to me for the rest of my career.

15/7/11
A road trip around Bali with Pete, my wonderful friend Yasa and his young son, visiting temples, gardens and the breathtaking UNESCO rice terraces.

The day ended by watching the sun set at the seaside temple in Tabanan- a beautiful day to farewell Bali.

Photos by Peter Butz

14/7/11
Performance showing in Mas. Under the nearly full moon, surrounded by fire and supported by a traditional Kecak troupe. The audience sat in the intimate outdoor space snacking on traditional Balinese cakes, peanuts, and drinking iced tea. It's traditional to offer the audience some sort of food and drink as thanks for their presence as witness to your performance. Stills from the performance below by Peter Butz.

13/7/11
Tomorrow is the first showing. The venue is in a small village on a street that has no name- it is thus proving quite difficult to give people directions to where the performance will be.

12/7/11
Yasa and I went riding from village to village today to find the right costume accessories for the Masks. I have settled on a leather crown and white sash for the Bride and a gold fringed collar for Spider Queen.

Photo by Peter Butz

First rehearsal with the Kecak troupe. It was really exciting to have the energy of the Kecak being fed to me, but also existing only in response to my movement. This fits the symbiotic relationship between movement and music that is in Balinese dance and performance much better than using pre-recorded sound. Kecak is also very flexible and has such a raw energy- I'm very excited to see how it goes when we add the fire.

11/7/11
Whilst I was rehearsing the Bride dance, Anom pointed out that the rhythms, although slow and sustained, still match those of Kecak, and that I should consider using Kecak as backing for all the Masks. We have also moved the performance date to the 14th to allow for one more day of rehearsal for the Kecak performers.

10/7/11
Lots of Mask dancers (including Anom) at a large temple ceremony today. Apparently it was a very large cleansing ceremony and they sacrificed a goat. I didn't get to see any sacrifice, but I did get to see lots of Mask performance and other ceremonial practice. Everything happens at once- there are Masks performing and music with it, but there is also some constant announcement over a loud speaker, ceremonial offerings being put together, people eating and chatting, priests blessing- it's amazing that anything can be focused on at all. The mass of activity only stops a few times- for prayer (during which time everyone stops and performs the prayer ritual), for some incredibly long list of local names (I have no idea what this was for, whether it was a list of this who had contributed or sponsored the event in some way, or something else entirely, but it was exceptionally long and reminded me of the early chapter in the Illiad where all the ships are listed and you nearly give up reading), and for a "break" where everyone left for about half an hour. The woman seated next to me was kind enough to share her offerings and flowers so that I could participate in the ceremony. Below is an image of a child entranced by Anom's Mask dancing.

Photo by Peter Butz

Tonight I'm off to go see Mekar Sari at Peliatan again and to invite the Balerung dancers to my showing. It's always very inspiring seeing the Peliatan dancers perform.

Photo by Peter Butz

9/7/11
Developing the dance for the Spider Queen with the assistance of Anom. He pointed out that I need to keep my elbows out and arms in expanded shapes to stop from falling into Legong positions- which are not true to the Mask. We only worked for an hour or two today, but the heat is so intense and the postures and movement so rigourous that I was exhausted and soaked with sweat by the end. My body is starting to reencounter and remember the pain that comes from dancing with these postures so longer periods of time, but it will still take a lot of practice to hit the right alignments. Each day Anom will give feedback on another Mask, and then when I have set all the choreography, we will bring in the Kecak.

8/7/11
Back at Anom's studio. Anom has threaded the rubber on to my Masks. I was surprised to see the bands are actually made of cut pieces of rubber tyre inner tube and cloth twine. The genius of the twine is that it can be cut and adjusted as the rubber stretches.

Anom has suggested that I do show all three Masks for my showcase- even if it is just a little taste of each one- to give context to each character. He also suggested that I bring in some of the spoken story elements for the Skeleton Woman, but only where necessary, and to translate most of the text into dance. I will also be using the spider music instead for the Bride and will be working with a small Kecak troupe for the Spider Queen. Anom also suggested bringing in the fire Kecak for the Skeleton Woman.

It can be physically confusing to bring the Masks to life- these Masks are carved in Balinese tradition and seem to respond to the Balinese rules. In many western forms of Mask the head leads, and the Masks needs movement to stay alive- it is almost the opposite in Balinese Topeng: the Masks stays relatively still with very subtle movement, and the body must move, almost independently in appearance, to keep the Mask alive. Balinese performance uses so much isolation and disjointed movement that my training in connected movement forms like Lecoq and similar western Mask traditions is almost getting in the way. The Balinese movement is not truly disjointed or disconnected, however, it is just that each movement affects the rest of the body in a different way. The natural forms of movement and response appear quite different. It's like the body is responding to an inner rhythm that does not have any of the sense of sustain that western forms do.

7/7/11
Spider Queen is at Anom's and it feels strange to be choreographing without her. It feels a little strange choreographing in this way at all. Topeng is meticulously choreographed creating a live synthesis between the dance and the music. I have made dancing Masks before, ones that respond to specific music with specific movement- but there is always a slight flexibility, especially in terms of timing, and the movement usually comes as a response of the Mask to the sound and a response of the body to the Mask. To choreograph with intent of beat and timing to music feels like choreographing a dance, not a Mask performance piece. I have decided to continue to explore the vocabulary of movement as dictated by the Mask (through both direct and and intuitive practice), but to dispense with a reliance on specific musical timing. Hopefully this will allow a choreography to emerge that is set, like Topeng choreography, but with the sound and music guiding the mood as opposed to illustrating the movement.

6/7/11
Galungan Festival. Music wafts in to the homestay from the street and we run out to catch a Boar Barong dancing up the road to each family's doorway. I have read that Boar Barong are very rare, so it was a very nice surprise. The dancers and musicians were a group of young boys, in full ceremonial dress but also Ray Bans- and the Barong was wearing thongs, but it was still a real Barong. A strange mix of the sacred and the casual.

photo by Peter Butz

5/7/11
Tomorrow is Galungan. Strolling along the small alleyway out from my homestay in the dusk, I stumble across a group of small children playing in the street. They have slung a bright pink and red sarong over the two cut halves of a cardboard box which two children wear over their heads, the child at the front clasping a small wooden touristic Barong Ket Mask. They run about, animating the two halves of their makeshift Barong, as the other children run away, laughing and screaming, enacting the scenes from the Barong dance-drama. It is so beautifully endearing to see small children with such a connection to their cultural art/religion that they would choose this to be the subject of their make-believe games. I am also pretty impressed at their resourcefulness and ingenuity in sourcing the materials and creating their own little Barong. Perhaps they are just super excited for Galungan tomorrow, in which there are many Barongs through the streets all across the island. Either way, the beauty and innocent joy of their game was a wonderful sight.

4/7/11
A stressful day trying to sort out logistics of performance in a foreign country. I REALLY hope my venue has sound... or even power points. Nothing is certain. I'm considering streamlining my performance down to feature only one Mask instead of three separate pieces, and extending that to be one longer dance. The thought of three separate pieces at this point is quite overwhelming, especially now that my performance has been slated for only nine days away- which means five days working with Anom after the Galungan celebrations this week. I will definitely use the other Masks at some point- maybe in the Canberra show, or maybe a future work, but for now my focus is on the Spider Queen dance and developing the hybrid music for it.

3/7/11
Back in Bali! Up early to visit Anom, present my finished Masks and plan for the performance. I brought Anom some iridescent paint and pigment as a present from Australia, as apparently they are difficult to source here.

30/6/11
En route to Bali and adding final touches to the Skeleton Woman Mask at the intimate art studio (read: apartment) of fellow jump mentee and Last Man To Die compatriot Benjamin Forster, who is at the same time working on his jump project. Jump productivity nexus.

photo by Peter Butz

28/6/11
Finished images of The Bride. Painfully ill, but still painting through the small hours of the morning. Forty coats of paint has never seemed such a task- although I just read that the ceremonial Barong Masks apparently require approximately 114 coats of paint, so they will "shine like lightning", so I suppose my paltry forty plus however many of detail is not so grueling.

photo by Peter Butz

24/6/11
I leave for Bali again in a few days and realised I need to organise some press photos before I go. But who to take an image at such short notice? Enter the very resourceful and talented actress, Leah Baulch, who pointed out that amazing local photographer Robert Coppa had that very morning posted a notice that he was searching for some Masks to photograph- what a beautiful moment of serendipity. Robert is the photographic force behind my most recent batch of headshots, so I was more than confident that the Mask images would be pretty amazing.

photo by Peter Butz

The final image!

photo by Robert Coppa

5/6/11
I have spent the last week pursuing my professional development opportunity- a week of Mask training with the wonderful Giovanni Fusetti from Italy's Helikos school. It was an invaluable experience working with other performers exploring the world of Mask- ranging from Neutral (Sartori) through to larval Basal Masks, through to Expressive Masks, Evil Masks and some lovely Commedia Masks created by an amazing leather Mask maker I met in Helsinki a few years ago, Stefano Perocco di Meduna. Giovanni states that the story must come from play, that the Mask must live and play to create the story- whereas Anom has recommended to find the story before creating the Masks. I anticipate that the most effective method for me will be a strange mix of the two that allows a concept and story to exist first (as a Mask maker) but to only the discover the story after play with the Mask (as a Mask performer). Complex.

27/5/11
The area in the nose crease of the Bride has been carved too thin and has broken through. Anom has warned me of this time and time again- and now it has actually happened. The only thing to do is to remove the lip and nose crease areas to create a half mask with full nose in the way Il Dottore Commedia Masks are sometimes constructed. Strangely, this seems to suit the Bride, and the more wood I remove from this area the more she starts to emerge from the wood. The Mask knows what it wants, and as usual I just need to carve away what is not the Mask.

photo by Peter Butz

22/5/11
The Spider Queen is finished! The next task is continue working on the Bride and then to begin the finer axe work on the third Mask, which will most likely serve as a base for a leather Mask.

photo by Peter Butz

20/5/11
I have begun the delicate task of touching up the paint and glue on the Spider Queen, involving very, very precise sanding and ultra-thin applications of the right shades of paint. It is a tedious process, but this beautiful, magnificent, exotic creature is slowly coming to life before my eyes with each tiny adjustment. Now all that is left is to seal the final coats of glue on the lower lip and drill the holes for the string and elastic and the Spider Queen will emerge.

photo by Peter Butz

13/5/11
The last few weeks of residency have been spent chiselling my second Mask, the Bride. I have also spent many fruitless hours experimenting with creating some plaster bases for leather, however the material is just not as reliable, nor as sturdy, as the wood. This means I will either have to find a viable Australian wood substitute in appropriate sizes, or bring back a lot of Pule from my next trip to Bali. Anom has suggested pine- but I may also have a try with balsa, as the bases don't need to be painted they decreased flexibility of the balsa vs. Pule may no be such a problem.

photo by Peter Butz

8/4/11
A new axe after trying axe work yesterday on my second Mask, the Bride, only to find my axe too blunt to work with. I tried sharpening it, but the only effect it seemed to have was to terrify some art viewer who accidentally walked into my studio whilst I was sharpening the large axe. The air in Canberra is too dry and I have to soak the wood a little in water to retain its elasticity. The new axe is still not quite the right size for the finer face work, so I have resorted to using the large chisel instead- which is still a valid way of working the wood at this stage, it just takes a lot longer.

photo by Peter Butz

People see me working on the Mask and exclaim in horror "Where are your shoes? Are you sure you should be doing that?". The Australian culture of OH&S is aghast at the culture of Bali. In Bali the attitude to safety has an almost Darwinian element to it- no shoes? Then just don't cut your feet off. Throwing burning coconuts around? Don't be in the way. Giant holes in the sidewalk that fall into the sewer? Look where you are going. If you hurt yourself, it is assumed to be due to your own stupidity as opposed to a fault in the activity or it's circumstances. No need for signs or warnings, just be smart enough not to injure yourself. This is not to say I have a cavalier attitude towards safety- I have documented the risks, a first aid kit on hand and personal accident insurance- but, no, I will not put my shoes on. It is the nature of the work- if you don't like the fire, get out of the workshop.

7/4/11
I move the tables in the room, position a low table for the Masks, sweep the floor, lay out my sarong, set out my wood, Masks and images, make myself a pot of Bali Kopi, take my shoes off and begin. Everyday there is a spider on one of the tables, or chairs, or on me- every day a different type of spider- yet it is still a better situation than my home which now seems to be crawling with all types of spiders which each night make new massive webs for me to walk into. The Spider Queen calls.

25/3/11
First day as Artist in Residence at the Belconnen Arts Centre. After setting up the workspace, I spend my first day in my studio sanding back the base coats on the Spider Queen and beginning to apply the colour top coats.

3/3/11
My last day of the first leg of the mentorship in Bali. Early morning rise to join hundreds of locals for the procession to the beach for the annual cleansing ceremony before Nyepi- the Balinese new year. Everyone congregates on the football field outside of Anom's house and people pile into the back of utes and trucks or balanced on motorbikes. I sit on the back of the scooter side-saddle in full Balinese formal dress as Yasa drives us to the beach, winding amongst the thick throngs of bikes and trucks. The ceremony holds the atmosphere of almost a beachside carnival, with food sellers, small hand-made toy stands and people selling instant coffee from thermoses. I join everyone in the burning sand and glaring sun to receive the cleansing prayer and then start the long journey home. On the way back Yasa and I stop for lunch at a roadside warung- a little like the Balinese version of a truck stop diner- for some real Balinese food. It is a lovely non-touristic day to finish my visit.

When I return to Anom's I paint the base coats on the Spider Queen which I finished carving yesterday. Tomorrow I will fly back to Australia after visiting Anom's house in the morning to attend a six-months ceremony for his granddaughter.

1/3/11
Went to Denpasar to watch Anom perform some Mask dances at a ceremony. The ground is spotted with blood from the cock-fight the night previous. The event begins with everyone having some Balinese Kopi or tea and traditional snacks, followed by the house blessing and a Mask performance. Anom performs the Warrior and some scenes in half Mask with a partner. The warrior's movements mirror the Baris Warrior dance, but with much greater subtlety and nuance.

28/2/11
Today we visited Anom's brother's compound. He lives in Mas, just around the corner from Ruma Topeng. The purpose for the visit was to show me the large outdoor stage, complete with gamelan orchestra, as a potential venue for performance. The stage is beautiful, complete with traditional door and archway, Balinese statues, ornamental paving, winged by a gamelan set up on one side, and a lilypad pool with flotaing bamboo rafts on the other. And this just happens to be in his backyard.

The afternoon was spent doing knife detail on the Spider Queen. It is taking a long time, but worth the effort.

27/2/11
A shortened day of carving, however most productive. I took the plunge and have started doing the fine detail work and cutting- this will really decide what the Mask is like. It's very time-consuming but The small results are satisfying. A couple from America came to take a short lesson in Mask carving with Anom today. It was heartening to see by comparison how much my skills have progressed in the past few weeks- particularly small details like correct ways to hold the knife to avoid injury and how to follow the contours of the wood. It is wonderful that my technical skills have so dramatically improved at this early stage of the mentorship, and that these skills will improve my Mask making, in many forms, for the rest of my life.

In the evening a performance at the Balerung stage of Mekar Sari- the Women's Gamelan Orchestra. Raka was performing on the same style of drum her father was famous for. Accompanying the concert were performances by some of the student dancers. Some were classical pieces- like the welcome dance or the Baris (one of my favourites)- but some were modern choreographies which displayed not only a surprising sense of humour, but how the traditional dance forms and music could be used in new contexts. Very inspirational- well worth the trek through darkened backstreets past all the howling (and potentially rabid) dogs and hidden snooker dens.

26/2/11
Chisel and knife work on the Spider Queen. I anticipate the complexity of some of the detail on this design will mean many, many days of knife work, but hopefully it will pay off.

25/2/11
Today I finished my first two Masks and began the spider queen Mask. The design is significantly more complex than the previous Masks I worked on, so it is more difficult- requiring a lot more precision work. Fatigue is setting in. I haven't eaten all day because I was given a dish with tofu in it by accident for lunch- and a soy allergy mixed with sharp knives is hardly advisable, so I ate nothing- although no food and knife work is hardly an advisable combination either.

In the evening- Performance of Tirta Sari at Balerung. Completely revitalizing! I turned up to find a sea of reserved signs decking out half of the audience seating. Tourists had already prebooked their seats, and I would be left to fend for the remains. However, it pays to know people, and after asking if Oka Dalem would be performing the Kebyar tonight, the lovely staff kindly ushered me to a special seat for me- front row centre. Next to me sat a lovely man from Germany who had been traveling to Bali for years as a documentary maker and was currently there to video document the repertoire of the Balerung dancers for their records and to update their website and online profile. He had been friends with Anak Agung Gde Mandera, the famous owner of the troupe who performed for Antonin Artaud, and had been there at intervals to see the children Bagus, Oka Dalem, Sri and Raka blossom into the famous dancers they are today.
The performance, though a shortened tourist version, was wonderful. It was so great to see Bagus, Oka Dalem and Sri performing again. The music- even the rhythms of the dialogue I don't understand- came back to me so quickly. After spending my last trip watching proper full length performances, the tourist snippets seemed so short, with each dance lasting only 20-30 minutes, and I wished I could see more. The dances did give me some inspiration about ways to incorporate Indonesian dance and postures into my project, as well as the art I am generating otherwise at the moment as well, not to mention the many questions that have begun to assail me about costume and makeup (if any makeup at all, depending on the Masked to unmasked ratio of the final showing).

After the performance I was allowed backstage to visit Sri, Raka and Oka Dalem, who remembered me from training with them last August- and they kindly gave me a lift back to my home stay when it began to pour with rain. I told them I would come visit the Balerung stage again next week, and about my mentorship project- and that they would of course be invited to the showing. I hope I will be able to visit and learn some more dance to incorporate into my project before I leave- or perhaps later in the year. Their photographer mentioned to me that during June and July is a big Bali Arts Festival, and that that may be fortuitous timing for the second leg of my mentorship here. A refreshing end to a long and tiring day.

24/2/11
Painting detail on the Masks. The lines need to be ultra thin, ultra clean, and both the paint and surface are amazingly unforgiving. I may have dramatically increased my near-sightedness after only one day of detail painting. The focus required is intense- Anom mentioned that sometimes he has to stop breathing whilst painting to ensure that the small movement of his breath does not make the line waver. It is very exciting to have finished these first two Masks, all they require now is a few coats of glue to seal the paint and add shine.

I went to visit Ruma Topeng, a giant private collection of Masks from around the world. The custom built complex in Mas holds thousands of Masks and entry is free, with donations welcome. The gallery displays some rare and ancient Masks from various cultures, as well as showcasing designs by Balinese and Western Mask makers living in Bali today. It was absolutely inspiring to see such a vast array of Masks created in such a diverse range of styles, for often such varied purposes. The collection also held some Masks made by Anom. I feel, however, like I have seen so many amazing Masks this afternoon that my eyes simply cannot take any more in- so the visit to their vast storage area for other Masks will have to be postponed until a later date. Another wonderful aspect of Ruma Topeng is their openness as a venue to host International Mask performers- definitely an avenue worth revisiting.

23/2/11

Today I met with theatre company fireFLY. A few days ago I was looking at the flyers on the wall of a cafe in Ubud and came across a poster for a theatre company based in Ubud specializing in physical theatre, dance and interdisciplinary art, called theatre fireFLY. I sent an e-mail to their director asking if they have any shows or workshops on, or if I could just meet up with them sometime during my stay, so today we met up to chat about my work, their work, and the general scene of intercultural collaborative work in Bali. Hopefully I will run a workshop for them next week as part of their weekly workshop sessions.

22/2/11
Today is painting! I only begin the base coats for the Masks, but each Mask requires twenty coats of base white paint, which is then to be sanded back before the actual colour can be applied. It is a long process, as each coat must fully dry before applying the next, however it is immensely satisfying to see the Mask characters beginning to appear as each layer of paint is added.

The afternoon was spent at Rendezvousdoux, a small French library/cafe on the main street of Ubud which plays a looped video on a large screen of Balinese dance performance from the 1930's.

21/2/11
The second week of carving begins. It has become easier. The carving has become more intuitive and I don't even notice the strange positions I have to sit in. Even my blisters are starting to heal properly. I'm starting to really understand the contours of the Mask and the wood grain and how to work with the medium instead of against it.

19/2/11
End of the first week of carving. I have been working from 9am-4pm each day, and whenever I close my eyes, all I can see is carving. I have worked on two Masks so far and will continue knife detail of lips, nostrils and eyes when I begin again on Monday morning.

photo by Peter Butz

17/2/11
Today I got to see Anom's personal Mask collection- not his gallery of works for sale, bur a collection of his fathers old Masks, sets of three of Anom's Masks- the first, second and moat recent of certain Balinese styles, Noh inspired designs, commedia based designs. Nothing as ornamental or flowery as in his gallery, but solid, old, real Masks.

At end of the day, after seven hours of carving with a ten minute lunch break (my own fault, Anom often has to remind me to take a lunch break) first blood. A tiny cut on my ankle from sweeping away some wood chips on the ground with the chisel in my hand, and also a tiny pin prick on my finger from slipping with the mallet and hitting my hand against the chisel handle. The axe blister is still by far the biggest wound and is not healing yet.

I am now working on my second Mask. I am attempting to follow the design of a Mask in Anom's gallery to see if I can carve a slightly more complicated design before beginning my own Mask idea. The last two days have been spent doing the knife detail work on the first Mask and many, many hours of sanding. The surface must be absolutely smooth or the paint will not look right.

Full moon. Kecak Rina performance at the Arma art museum resort. It is the the same story as the Kecak I saw with Per Brahe and Studio 5 last year, but a different troupe. Totally awesome fire throwing, energetic Kecak and great showmanship. This is more like it! People standing on people's shoulders and fighting, rubbing burning ashes on their faces and throwing burning coconuts. This Kecak takes movements from Baris dance- the upward energy, detail and subtlety of movement is stunning, and juxtaposed nicely by the savagery of the fire. Very inspiring. The stage presence of the two leads was also admirable. Their timing and awareness was fabulous, and I did not realise until looking at a photo afterwards that one of the performers was a good head shorter than me. Even when standing next to him I could have sworn he was taller. At the end of the show the Cak Rina troupe- the rock n roll stars of Kecak- jumped onto their scooters and bicycles and rode off into the night. No asking for applause, no milking the very impressed audience or fishing for compliments- they had served the show, and their job was done.

14/2/11
First day carving with Anom. Within the first hour I have four blisters. Carved the first half of a mask (axe and chisel work) with Anom. Tomorrow we will do the knife work.

photo by Peter Butz

There is a type of beautiful lesson in carving the wood, the type of wood is so delicate and the tools so sharp, that if you are reckless and not careful you will crack the wood or cut yourself, but if you do not put enough strength behind your blow you will get absolutely nowhere. You must also visualize what you want the wood to do before you strike. If your vision is not strong, the axe or chisel strike is not clean. So, the right balance of action and patience, force and care, driven by an absolutely clear vision. Know what you want, do it, with care but also commitment.
My muscles are killing me. Mainly my legs and my hands. You have to sit holding the Mask with your feet to keep it steady. It is a bit like the leg stretch many people call The Butterfly- but you sit like this all day. I am so very grateful for my yoga and dance experience or this would probably be impossible.

photo by Peter Butz

13/2/11
Went to go see a Kecak performance at Padang Tegal. This Kecak was not the sort I am used to and had none of the vibrancy or abandon of previous Kecak I have seen. The first indication of this came when a Ramayana character came out to dance, and I realised their ornate costume would not be let near any of the type of OH&S scorning activity I was expecting. There was however one amazing moment at the end where the Kecak singers and character performers cleared the space, and a trance performer came out to do the horse fire dance. The horse runs about the stone area, kicking and crushing burning coconut husks and dancing across the embers with bare feet. His eyes were closed- or at least heavily lidded- as he wheeled around leading (or perhaps being led by) the puppet horse until he had to be caught and reined in by a pair of wranglers to be taken out of trance. Although not the performance I was seeking, this unexpected treat at the end made it all worthwhile.

photo by Peter Butz

12/2/11
Smart traveller recommends rethinking the need to visit Indonesia at this time due to high threat of natural disaster or terrorist attack. New things to add to my risk assessment.

11/2/11
An experience with two Balinese specialty beverages at the local writer's centre hang out Bar Luna, run by Australian Janet de Neefe. The Australia-trained baristas served their version of Ginger coffee made with local Ginger and the irresistible Balinese coffee beans, as well as the local palm wine Arak- likened to Balinese moonshine or rocket fuel by overindulging tourists in Kuta. This was not like that. This was a lovely afternoon exploring Ubud's alleyways and watching the Australian-Balinese writers perched over their laptops. What a lovely landscape to be creative in.

10/2/11
Today I met with my mentor, Ida Bagus Anom. We have organized the first section of our meetings for the mentorship. When I first walked into his studio he did not recognize me and I had a very terrifying moment, but he then realized who I was, and of course why I was here, and broke into a broad smile. We discussed mentorship plans today, and will begin working on some Masks 9am on Monday, and we will carve and discuss and learn for a week straight and then move onto the next section of the mentorship period in Bali- whatever that may be- we will figure it out when we get there. I will also play with some Mask dancing. Anom us very excited about Balinese form being used as inspiration for new work in Australia. Anom has asked that I create the design for a Mask (non-Balinese style) by the end of this first week. This will be either the spider queen or a base for leather. I have brought a small piece of Italian embossing leather with me so I can show Anom how I usually work, and we can discuss the similarities and differences between working with wood and leather.

photo by Peter Butz

The middle of the day was taken up by a huge cremation ceremony happening in Ubud. There were three people being cremated- which meant three giant bulls and three massive pagodas to be run down the main street. It is a very unique and impressive sight. First an orchestra plays in the temple whilst the pagodas are loaded with offerings and the corpses. There are giant runways set up so that people may reach the top of the pagodas. Then a band playing vibrant and loud drums starts up and a whole bunch of people lift the bulls and the pagodas, with some people standing on top, and they RUN all the way down the main street until they reach the cremation site where everything will be burnt.

9/2/11
One of the hotel clerks at the cafe at artini 3 used to be a mask carver. He showed me all his scars over breakfast. The carving knives are sharp and the wood can be very delicate. Better add this to my risk assessment. This afternoon we will meet with Yasa who will help organize my schedule for this leg of the mentorship, especially travelling to Mas to see Anom. Yasa is probably the nicest person in Bali and I feel very fortunate he is able to assist with my mentorship.

Trying very hard throughout the day not to buy any of the beautiful Masks made by the street vendors. They are everywhere. Lots of different designs ranging from traditional Balinese to tourist attracting art pieces.

Returning from a walk through Ubud, I have found a beautiful golden oriental kitten has taken up residence on my balcony. It is sleek and graceful, much more so than cats in Australia. In fact even the cows in Bali are svelte with golden hides and graceful faces.

photo by Peter Butz

Trekking through the hotel's garden and stumbled across a GIANT spider. Upon closer inspection it was a golden orb spider with a massive web, reeling in an insect. I first came across this bizarre species whilst on induction for jump in brisbane. I was totally inspired by their golden kevlar-strength webs and crazy markings. This lovely piece of synchronicity seals the deal on one aspect of my project. Gold and spiders, here I come.

Last Man To Die

2010-03-14T07:36:00.018+01:00

Last Man to Die is an interdisciplinary arts group
based in Canberra, Australia.
The core members are:

Last Man To Die is an active experiment in the relationship and interaction between three, traditionally distinct, art forms - Drawing, Performance, and Percussion. This experiment takes three artists, each successful in their own disciplines, and through active synthesis and disjunction attempts to generate a new and common expression.

for more information please visit www.lastmantodie.net

Masks

2010-03-14T07:30:00.031+01:00

HOBGOBLIN-
Leather
Constructed 2011
for Music for Everyone's THE SNOW QUEEN

Commissioned as part of a set of sixteen Masks for Music for Everyone. Made of soft goat leather.

SNOW QUEEN-
Leather
Constructed 2011
for Music for Everyone's THE SNOW QUEEN

A Crown Mask. The nose piece is trimmed later to fit the actress.

ATTENDANTS-
Leather
Constructed 2011
for Music for Everyone's THE SNOW QUEEN

Commissioned for Music for Everyone's production of THE SNOW QUEEN. Based upon the SNOW QUEEN Mask design. These Crown Masks convey mood and attitude rather than a fully fledged character. Made of soft goat leather.

SNOWFLAKES-
Leather
Constructed 2011
for Music for Everyone's THE SNOW QUEEN

Seven unique designs commissioned for THE SNOW QUEEN. Based upon cut-out paper snowflake designs inspired by Hans Christian Andersen's paper cut outs. Made of soft Goat leather.

SKELETON WOMAN-
Leather
Constructed 2011
for the Australia Council's JUMP Mentorship Program for Young and Emerging Artists

Skeleton Woman derives from the Inuit myth. The third Mask created for JUMP, she was molded over a Pule wood base carved in the traditional Balinese fashion. Skeleton Woman is a figure in the performance (OR).

THE BRIDE-
Balinese Pule Wood
Constructed 2011
for the Australia Council's JUMP Mentorship Program for Young and Emerging Artists

This is the second Mask of my own design for the series created for JUMP, created as Artist in Residence at the Belconnen Arts Centre in Canberra AUSTRALIA. The Bride is a character in the performance (OR).

SPIDER QUEEN-
Balinese Pule Wood
Constructed 2011
for the Australia Council's JUMP Mentorship Program for Young and Emerging Artists

This is the first Mask of my own design for the series created for JUMP, created partially in Bali INDONESIA and partially as Artist in Residence at the Belconnen Arts Centre in Canberra AUSTRALIA. The Spider Queen is the central figure for the performance (OR).

DEWI SRI-
Balinese Pule Wood
Constructed 2011
for The Australia Council's JUMP Mentorship Program for Young and Emerging Artists

Dewi Sri is the Balinese Goddess of Rice. This Mask was created with the assistance of my mentor Ida Bagus Anom, in Bali INDONESIA.

[UNNAMED]-
Balinese Pule Wood
Constructed 2011
for The Australia Council's JUMP Mentorship Program for Young and Emerging Artists

This is my first Wooden Mask created using traditional Balinese carving methods. It was created with my mentor famous Mask maker an Mask dancer Ida Bagus Anom, in Bali INDONESIA.

IMMORTALITY MASK-
Leather
Constructed 2010
for THE LAST MAN TO DIE

This Mask is coated in iridescent pigment which glows blue under light. It is used in the Turritopsis Nutricula scene of THE LAST MAN TO DIE, as well as other movement based scenes.

PUZZLE MASKS-
Papier Mache on Plastic Base,
Plastic Fangs, Velcro
Constructed 2009
for VITAL LMTD

These Masks are comprised of four full Masks, each in turn comprised of three detachable pieces. The parts may be swapped around to create "hybrid" Masks. These Masks were created for the Reanimation scene in VITAL LMTD, and each represent a method of reanimating dead flesh as presented by popular culture: Vampirism, Galvanism, Cyborgism & Voodoo. Which pieces were assembled was based directly upon audience choice of a type of merit sticker upon entering the venue, the percentage of types of stickers selected corresponded with Mask pieces, thereby changing the character created each performance. The resulting character performed a speech taken from text spoken by the creature in Mary Shelley's FRANKENSTEIN.

BRAIN MASK-
Latex, Plasticine, LED
Constructed 2008
for COGNITION TRILOGY

This Mask was developed for the shows WE COME IN PEACE, SHOOT TO KILL at The Street Theatre and COGNOTION at La Mama. Modelled from images of a real human brain.

Complete with controllable flashing LED lights. Special thanks to Muttley for constructing the lights and switches.

PHOENIX MASKS-
EMBER AND FIRE
Leather
Constructed 2007
for IN CINDERS LIE

These Masks were developed for my Honours project.
They were developed to be worn by the characters Witch Queen and Cinder.
These are my first leather Masks.

MICHAEL-
Papier Mache on Plastic base
Constructed 2006
for WITCH HUNTERS

Michael was made for the character of the fallen angel Michael in Maenad Theatre's WITCH HUNTERS, written and directed by Peter Butz.

PERVERSION
Plastic
Constructed 2006
for TWISTED CIRCUS

FAME
Plastic and Magazine
Constructed 2006 [PHOTO COMING SOON]
for TWISTED CIRCUS

IMAGE
Plastic, Bandage, Twine, False Lashes
Constructed 2006 [PHOTO COMING SOON]
for TWISTED CIRCUS

These Masks were created for the film clip TWISTED CIRCUS, and represent some of the seven modern deadly sins.

TUTUGURI-
Plaster
Constructed 2003
for ACTING ARTAUD [PHOTO COMING SOON]

Tutuguri was made for The Rite of the Black Sun ritual within ACTING ARTAUD. Part of the Mask are the feathered arm bands which are worn at the elbows. Tutuguri was modelled on the Aztec God Quetzlcoatl, and subsequently has an unquenchable hunger for hearts. Tutuguri was made to dance a specific choreography to a specific drum beat. He will not dance if the drum beat is off.

KAIL-
Papier Mache on Plastic base
Constructed 2003
for THE LATCH

Kail was created for a draft version of THE LATCH by Peter Butz. His partner Mask, Lyssan, is still under construction. KAIL is an anarchist based on the trickster archetype.

DRILLIT-
Plastic
Constructed 2002 [PHOTO COMING SOON]
for REQUIEM IN SANITY

Drillit was created to be worn by Peter Butz for his play REQUIEM IN SANITY.

THE GREEN MAN-
"PAN"
Plaster, Ground incense
Constructed 2001 [PHOTO COMING SOON]

Pan was modelled after the mythology of the Green Man. He has a habit of whistling and jumping from high places.

[UNNAMED]
CHORUS MEMBER
Plaster, Wire, Gaffa Tape
Constructed 2001
for OEDIPUS REX

This is my first Mask. Made under the instruction of the wonderful barb barnett during the Acting Company's OEDIPUS REX. The horns were orignially made of solid plaster, but had to be changed to wire due to the weight.

VERY LIMITED SELECTION so far
more documentation of the collection coming soon...

Hanna Cormick CV [excerpt]

2010-03-14T05:32:00.013+01:00

TRAINING

École Internationale de Théâtre Jacques Lecoq

PROFESSIONAL COURSE Current

Charles Sturt University

BA ACTING FOR SCREEN & STAGE (Honours) (Graduated Class 1) Completed 2007

BA ACTING FOR SCREEN & STAGE (Graduated with Distinction) Completed 2006

National Institute of Dramatic Art

Young Actor’s Studio 1 year Program Completed 2002

FEATURE FILMS

ANOTHER DAY IN PARADISE Sasha RPM Films Paramita Roy

SHORT FILMS

SURVIVAL OF THE FITTEST Zombie Wirrim Films Peter Butz

MUSE Liza Cut/Rush Films Dallas Bland

FRANK Sharon Sarina Talip

FRUITLESS EXPEDITION Woman Missing Bits Productions Chris Webb

PENGUINS & POLAR BEARS Jane Max the Cat Liliana Bogatko

DON’T SAY THE ‘Z’ WORD Creepy Kid CSU TV Michael West

THE PACKAGE Alix Patio Collective

THRUWAY Lisa CSU TV

INANIMATE Ana CIT

THE INVITATION Centrelink Worker CSU TV Alec Beckett

BEYOND EDEN Eve CSU TV

TELEVISION/WEB SERIES

PERDITION Lt. June Scott Wirrim Films Peter Butz

REFUGE (Pilot- teaser) Frankie Film Monk Glenn Brown

DEMI-ETERNITY (Pilot) Nissa CSU TV Peter Hanshaw

COMMERCIALS

WAGGA RSL CLUB Woman Wagga RSL Club

IT’S A LIVING THING (Series of TVC) Lead Wagga City Council

DON’T BE A TOSSER Woman Wagga City Council

INTERDISCIPLINARY ART

THE LAST MAN TO DIE: INSTALLED Lead Last Man To Die

THE LAST MAN TO DIE Lead Last Man To Die

VITAL LMTD: REVITALISED Lead Last Man To Die

VITAL LMTD Mary Last Man To Die

COGNOTION Ensemble La Mama

WE COME IN PEACE Brain Hunting Season

COGNITION Ensemble Hunting Season

DON’T TOUCH THAT BUTTON Ensemble Choreographic Centre Ruth Osborne

MUSICAL THEATRE & CABARET

THE GIRLS Ensemble Wild Voices Dianna Nixon

LONG GONE LONESOME COWGIRLS Vicki Riverina Theatre Company Michael Smalley

ROCKY HORROR PICTURE SHOW Columbia Roseleigh Manor Theatre

PATIENCE Heavy Dragoon Guard UTE Tessa Bremner

ROCK YOU WITH HORROR Janet Roseleigh Manor Theatre

THEATRE

IMPROFLICKS Ensemble Improfessionals

(OR) Solo JUMP

GEESE Anais ShadowHousePITS Joe Woodward

PLAY (BY PLAY) Woman You Are Here Max Barker

BUBBLESOUP Ensemble Impro Theatre ACT Caspar Schjelbred

THE TIN SOLDIER Granny Ruth Gearstick Theatre Kevin Poynter

LIES, LOVE & HITLER Hannah CADA & The Street Presents PJ Williams

REFUGEE REALITIES Various OXFAM Australia

ANY BODY’S COOL Kate MIEACT Catherine Roach

LOVE CUPBOARD Annabel Hot New Sensation Peter Butz

HERMIT Joyce Griffith Theatre Scott Howie

SOAKING IN IT Penny Short + Sweet David Atfield

RUBY MOON Sylvie Gearstick Theatre Kevin Poynter

GHOST TOWN DAYS Martha National Youth Week Aj Biega

LOVE CUPBOARD Annabel National Youth Week Emma Gibson

SKIN DEEP Committee Member Gearstick Theatre Craig Higgs

DYING LOVE Addie Shadow House PITS Joe Woodward

OCEANS ALL BOILED INTO SKY The Priest Serious Theatre barb barnett

DAMNED IF YOU DUO 4 Captain Brioche BKU Peter Butz

ROSE PETALS Paige Shank’s Pony Catherine Roach

I’LL SEE YOUR HEART Death Shank’s Pony Naomi Brouwer

& RAISE YOU MINE

IN CINDRS LIE Cinder Michelle Gaul

CAT ON A HOT TIN ROOF Maggie SOACT Fay Walters

IRRECONCILABLE DIFFERENCES Ensemble Gearstick Theatre Michelle Gaul

JUST A MINUTE: DRY HUMOUR Ensemble Riverina Theatre Company Michael Smalley

TO HEAT YOU UP Onie Multicultural Festival Max Barker

& COOL YOU DOWN

LOVE SONG DEDICATIONS Goth Bunker Productions Peter Butz

STAGE DOOR Terry Randall UTE Bagryana Popov

DEAD TO THE WORLD Rosa Riverina Theatre Company Michael Smalley

WITCH HUNTERS Nadine Maenad Theatre Productions Peter Butz

HE DIED WITH A FELAFEL Ensemble The Acting Company Sophie Benassi

IN HIS HAND

BLACK WIDOW Woman 1 CSU Actor’s Union

THE 5 O’CLOCK WAVE Fiona UTE David Wicks

BOY PRESIDENT The Magical Pimp Bohemian Productions David Finnigan

HE LOOKS IN THE MIRROR Lead A Bunch of Fives

FIESTA! FIESTA! Isabella Roseleigh Manor Theatre

THREE SISTERS Olga UTE David Wicks

PEACHY KEEN Madison A Bunch of Fives

AN INNOCENT SLEEP Ensemble UTE Tessa Bremner

MACBETH The Porter UTE Tessa Bremner

REQUIEM IN SANITY Tamara Maenad Theatre Productions Peter Butz

THE VAGINA MONOLOGUES Ensemble ANU Women’s Society Jane Davies

ACTING ARTAUD II Ensemble Shadow House PITS Joe Woodward

VAMPIRE PLAY Malkin Bohemian Productions Nick Johnson

ACTING ARTAUD Ensemble Shadow House PITS Joe Woodward

XPLOYT Lisa RYPT Scott Howie

HARDWARE Lead A Bunch of Fives

SCULPTURED VISIONS Ensemble Shadow House PITS Joe Woodward

& ETHEREAL LANDSCAPES

THE WAR Callonike NIDA Young Actor’s Studio Clarence Dany

REQUIEM IN SANITY Tamara Hawker College Peter Butz

SEX&VIOLETS.COM La Belle Dame sans Merci Shadow House PITS Joe Woodward

CATHEDRAL SONG The Angel Daramalan Theatre Company Joe Woodward

THE SCHOOL FOR SCANDAL Lady Sneerwell Hawker College Kate Rose

BEARING WITNESS Emma Shadow House PITS Joe Woodward

TEMENOS Goth Festival of Contemporary Art Catherine Langman

BLACK COMEDY Clea Hawker College Bec Dai-Tomlinson

CACTUS FLOWER Stephanie Three Dice Holly Bennet

OEDIPUS REX Chorus The Acting Company Estelle Muspratt

ETHOS Pioneer CYTC David Branson& Ken Spiteri

CROWD BEHAVIOUR Ensemble CYTC Catherine Langman

WONDERFUL WORLDS H CYTC Catherine Langman

BETTER THE DEVIL YOU KNOW Ensemble CYTC Catherine Langman

USED & AMUSED Michelle CYTC Catherine Langman

YOUTH’S EYE VIEW Ensemble CYTC Robin Davidson

SHOPPING…. FOR BOYS Ensemble CYTC Linda McHugh

ROVING PERFORMANCE

Various roles A Bunch of Posers

PLAY READINGS

VIP Cassie A Bunch of Posers Catherine Roach

MP Nadia The Street Theatre Camilla Blunden

EYES TO THE FLOOR Mrs Smith Outback Theatre Amy Hardingham

THE GIRL I LEFT BEHIND Bertha Griffith Theatre Scott Howie

MUSIC CLIPS

LOVE MACE Contortionist Breakenback Films

TWISTED CIRCUS Image CSU TV

EVERYTHING Paper CSU TV

VOICE OVER

ARTIST DOCUMENTARIES CSU TV

IRRIGATION DOCUMENTARY CSU TV

SPECIAL SKILLS

12 years Jazz Ballet (CDDC & DanceCo School of Theatrical Dance), 2 years Ballet (CDDC & National Capital Dance), 1 year Tap (CDDC), 1 year Contemporary (National Choreographic Centre), 4 years fencing (foil, epee, sabre), Aerial Harness Training, Tango, Belly Dancing, Salsa, Indonesian Classical Legong and Finnish Folk Dancing, 4 years clarinet, Acrobatics & Basic stage combat, Yoga, Pilates, Feldenkrais, Alexander technique

ACCENTS: RP, “Standard” American, American Southern, Irish, Russian, Guatemalan, French

Headshots

2010-03-07T10:45:00.010+01:00

photos by Robert Coppa Photography

photos by 'pling

And a special thanks to 'pling, Anny Jacopetti, Robert Coppa, Dallas Bland, Rohan Thomson and Peter Butz for images used in the background.