After Forced Horn in 1996, Eryn and Susan continued exploring the duet
form. Elimination of Lateral Violence evolved as a 20 minute danceography:
a developmental structure which honours the creative equity between
dancer and choreographer, eliminating hierarchy and formalizing and naming
this process. Danceography is a choreographic process where the dancer and
the choreographer are one and the same, and the movement is generated
through improvisational scores.
The language that developed combines contact improvisation with very
driving, frenetic,space-encompassing unison phrases and highly developed
floor work. The dancers create an emotionally heightened internal and
external landscape through characterization and spatial relationships.It
uniquely celebrates the vast possibilities of partnering in dance with a
vocabulary of powerful lifting, sensual, lush gestures and intricate entwinement.
The themes evolving are universal and personal. Elimination of Lateral
Violence portrays an intimate relationship between androgynous, futuristic
characters battling primitive internal and external landscapes. The themes
that have surfaced are; how to have courage in a world of fear and
oppression and how to protect a relationship threatened by internal and
external violence; the risk involved with intimacy and trust; finding a
safe place within and defending it from evil.
Dany Lyne's design concept for Elimination of Lateral Violence can be
described as cultural collision, with images culled from ideas of urban
tribalism and primitive isolation, and traditional Peking Opera. The
costumes expose the body, yet also suggest armour for warfare. Human
features are masked by paint revealing the dancers Chinese astrological
animal sign. The design layers Yin/Yang imagery.
Catherine Thompson's sound score is a weaving of three "sound rivers"
-folkloric (flute and cello), naturalistic (jungle and water) and urban
(traffic and voices) which are combined to heighten the dramatic intention
stage. The score is both oppressive and liberating, soothing and frightening, meditative and tension filled.
Sharon DiGenova's lighting design serves to create a definition between
worlds - to isolate the dancers from each other and/or from the outside
world. The lights also create an environment where the threat of external
violence impinges on an oasis of intimacy.