Combine!

A new format from Frakture, an evening combining different artforms and performance styles. Tonight featuring, live paint, music and dance and John Zorn’s piece Cobra. An exceptional night and launch of “Combine” from the Frakture Team.

Takahashi’s Shellfish Concern,
Dave Birchall: Bekke Platt: dance/music duo
John Zorns’ Cobra perform by 20 musicians.

Takahashi Shellfish Concern

Angela Guyton - painting
Rodrigo Constanzo - electronics
Anton Hunter - electronics

Takahashi’s Shellfish Concern are an i mprovised music/visual art trio. Takahashi's Shellfish Concern combines abstract expressionist visual art with experimental electronic-acoustic music to accentuate the similarities of both during improvised exchanges. Angela Guyton and Rodrigo Constanzo create a new event that requires the audience to consider this merger of music and art as a single expression.

The concept for Takahashi's Shellfish Concern took shape in early 2006 back in their hometown, Miami, Florida. Rodrigo and Angela had both worked along similar lines in Failure, Arc of Beauty, and continued their collaboration after the group's dissolution in 2006. Now based in Manchester England, Takahashi’s Shellfish Concern are performing with musician Anton Hunter across the UK

Dave Birchall: Bekke Platt : improvising duo comprising dancer and guitarist .

The duo started working together at the start of summer 2010 to develop works from a basis of improvisation and reflection on approaches they both brought from their respective mediums of expression. This collaborative process has lead to the development of a specific language of performance between the duo.

John Zorn's Cobra : director Rodrigo Constanzo writes

”Cobra is either an often performed contemporary music composition, an improvisational game, a short attention span barrage of noise, a social experiment, or every piece of music you've (n)ever played or heard. I can't be certain as to which it is or isn't but I do know that it involves a group of performers, rules that should be read/understood before hand, a rather poorly made set of cue cards, and sometimes dirty headbands.

One thing that I know for certain, from years of involvement with the piece, is that no two performances are anything at all alike, even with the same performers, on the same day. It is not uncommon to find yourself laughing at the serendipity that happens during a performance, only to be still and solemn not three seconds later when a hand gesture made by a performer drives the performance into a completely new direction. At it's most basic, it is a piece by and for improvisers. A system, or structure, that allows performers to interact in a variety of ways, that can change at the drop of a hat. Beyond that, anyone's guess is as good as mine.” RC