No place to hide: The Burnt Room at Tectonics

The Burnt Room

credit: Asaf Saban

Ohad Fishof explains how he and fellow choreographer Noa Zuk became acoustic installations in their own piece

All shows rely on the performance space for context, atmosphere and a sense of place, but The Burnt Room more than most. Created by Israeli choreographers Noa Zuk and Ohad Fishof, the production was made specifically for a room rather than a theatre, which left the duo with a few problems to solve.

'We wanted the audience seated all around the room with their backs to the wall,' explains Fishof. 'But with that came technical restrictions: how could people seated on opposite sides of a room experience the same choreography? And there was no backstage, no hidden area for sound and lighting operators or equipment, so everything had to be visible and exposed, which is probably how we ended up in the piece ourselves.'

Alongside two dancers, Zuk and Fishof appear in The Burnt Room, creating a live soundtrack as the show progresses. Originally choreographed for Tel Aviv's Center for Contemporary Art, and soon to be performed as part of the Glasgow's Tectonics festivals, the show has been delivered in a variety of rooms: and it's never the same twice.

'Each room has slightly different proportions and character and therefore a slightly different atmosphere,' says Fishof. 'But as long as you have people sitting around facing each other, it feels more similar then different. And of course the audience closeness is central to the experience; all the compositional details of the piece are amplified by the seating arrangement.'

The Burnt Room

Dance piece performed by Ohad Fishof and Noa Zuk made for a room with the audience around the stage area, physically marking its borders.

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