Two bodies meet in a circular LED-lit space, framed by two sinister poppet dolls. These divine monsters, Tamsyn Russell and Rose Philpott, are barely distinguishable, their dark brown hair and bare skin coalescing into one. The anonymous women are held together by a force stronger than identity, longing for each other’s support, but also separation. They move as doppelgänger mirrors, pendulums spring-boarding through stages of ecstatic violence and painful awakening.
The artistry is exceptional, and I feel fortunate to have seen their work
Aukland’s Foster Group’s hour of awe-inspiring movement is truly special. The company leads its audience through stages of love and despair, effortlessly flowing between the hypnotic, grotesque and acutely comic. The bodies search for freedom is never quite finalised as they clamber over and wrap round each other, limbs without owners.
One became two at the instruction of a sanitary, other-worldly clang, which imprisoned the pair amidst flashing white LEDs. This was one of the many moments where soundscapes shaped and structured the performance beautifully. As one woman awakened, the other slumped, dormant and possibly dead. The emerging individual realised her nudity and began to self-consciously cover herself, while tapping the inert body with an inquisitive care. This moment of tenderness grew, suggesting a pride which comes with being ‘awake’, and the duty to carry and revitalise dead weight. It was as if these bodies, in pursuit of a shaky independence, discovered mimetic movement as a means of embracing the uncertainty of their own selves.
The performers use of their hair was entrancing. At times, it served as a sight of sovereignty, but also offered the women a means of hiding. As classical bliss synthesised with the deafening noise of construction, both women bent with their heads hanging between wide legs, flicking their hair in wild synchronicity. Later they connected through complete entanglement, twisting with the other’s length, then pulling apart with a sense of finality which dissolved into a fresh sequence.
Utilising a mask garnered from beyond the LED circle, the solo portrayal of death and rebirth was eerie and striking. I was captivated, under the spell of this reinvigorated figure that returned to the space with power and force. This, juxtaposed to the unexpected and bizarre costumes that followed, stimulated a sense of confusion that felt expansive and enriching.
I am told Double Goer has been in the making for six years and will continue to tour with additional set where possible. The artistry is exceptional, and I feel fortunate to have seen their work.
