A short history
By developing a combination of live performance, installation and digital technologies, the company investigates the interface between live and mediated performance, audience and performer, location and history.
As a consequence of “working on location” a work style found on film/TV locations is a hallmark of Fragments & Monuments production design. The film crew follows the performers and audience as film crew and paparazzi, to create an atmosphere of celebrity and occasion for the performers and audience (both filmed by the camera crew).Performance, films and events are broadcast over the internet. These streamed events connect our local and global audiences.
In our work the destiny of women is deconstructed and rewritten. Now, Mary Wollstonecraft reappears embodied by three very different female performers in Wollstonecraft Live! she is on the internet writing to us on TWITTER and floating over Newington Green in her ‘white box dress’ as a LIVING MONUMENT!
The audience interacts as picnikers,extras, passengers, hotel guests or party guests, becoming part of the action as they sit on the train, take the bus or walk to the midsummer party. In Wollstonecraft Live! the audience take on the role as extras in the Hollywood biopic of Wollstonecraft’s life. Performance, films and events are broadcast over the internet. These streamed events connect our local and global audiences.
Interior and exterior/ public and private
The interior and exterior of the performance space are explored as a central expression of gender relations. By working on a site-based location, Fragments & Monuments opens the door of our work to the public.In this trilogy windows are seen from both the inside and the outside and doors are disregarded or used in a surprising way. In the outdoor screening of Di’s Midsummer Night Party, we back-projected the film from the front of Clissold House in an attempt to merge our 21 st-century experience of the house with its history