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Peter Trotman and Andrew Morrish, Avalanche	Peter Trotman and Andrew Morrish, Avalanche
photo Neil Thomas
Trotman and Morrish are like those old couples who have cohabited for decades—they know how to share a bed (read stage). Although they are very different performers, they slip in and out of each other’s narratives with ease, turning the tables and reversing predicaments. Each successive performance extends the work of the previous night (the season runs to 6 performances). The spoken commentary by Morrish proceeds like the automatic writing of the Surrealists, uncensored, and full of free associations. Morrish happily assumes maniacal, arch and eccentric characters and does so in this somewhat apocalyptic piece. By contrast, Trotman’s guileless persona creates trouble and amusement only indirectly. His speedy movement is light and elfin, his little looks to camera are wide-eyed and open.

Avalanche has much more ‘dancing’ than their last piece, The Charlatan’s Web, perhaps because there is greater usage of music. Trotman and Morrish are not trained dancers but they move with commitment and personal style. In fact, their lack of training produces a certain sort of critique of masculine ways of moving—they are not sporty men, they are not men ‘doing’ dance, they are happy to be laughed at, and they cover space in unusual ways, neither seeking nor rejecting grace. The effect is of seeing men work together and co-operate with a mind to the work at hand. Avalanche will be shown as part of Sydney’s antistatic dance event this year.


Avalanche, Peter Trotman and Andrew Morrish, Dancehouse, Melbourne, March 5 - 14; antistatic, The Performance Space, Thursday March 25, 8pm.

RealTime issue #30 April-May 1999 pg. 33

© Philipa Rothfield; for permission to reproduce apply to realtime@realtimearts.net

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