Inbox: 33 Fainting Spells

Feature in Issue 14-4 | Winter 2002

The latest of our e-mail questionnaires.

Your names?

Dayna Hanson and Gaelen Hanson.

How would you describe yourself and your occupation?

Co-Artistic Directors of 33 Fainting Spells, a Seattle-based dance theatre company.

What have you seen, read or experienced recently that has been an inspiration?

The guy in the karaoke bar giving the ‘thumbs up’ to no one in particular and removing his dental bridge with his tongue.

Which of your artistic achievements are you most proud of?

Having our short film Measure screened at the New York Film Festival.

If you could change one thing (in yourself, your life/art or anything anywhere) what would it be?

To have life pass more slowly.

What do you think was the best example of theatre in the past year?

Most definitely the Wooster Group’s To You, The Birdie! (Phèdre).

What does the term Total Theatre mean to you?

The guy in the karaoke bar giving the ‘thumbs up’ to no one in particular and removing his dental bridge with his tongue.

Your manifesto for theatre?

We make every effort not to take for granted the elements of theatre, be they production elements such as light or sound, or materials such as text and movement. Our choreography ranges from full-throttle dancing to small gestural sequences borrowed from film. Often looking at the world through a nostalgia-tinted lens, we find great value in both outdated and low-fidelity technology as well as bargain bin records and paperbacks from the past. The fine and fuzzy line between humour and pathos is of special interest to us.

33 Fainting Spells’ Dirty Work will be performed in the London International Mime Festival 2003 at the ICA, 24-26 Jan. Dirty Work uses low-fidelity media equipment (including school issue record players and projection screens) as a lens for viewing 21st Century performance. 33 Fainting Spells’ work has been commissioned and presented by many leading contemporary venues. See website: www.33faintingspells.org

Referenced Artists
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Issue 14-4
p. 11