Performance art with no boundaries
"24 Hours in Movement: Pegged Legged, Hooked Hands" was the result of a two year collaboration between Alice Rensy Productions and Eaton HK. The dance festival featured more than 30 performance artists, many of whom were returning collaborators like Blue Ka Wing, TS crew, Li De and Yang Hao.
Being together in one space with audience, performers and passers-by. This was artistically at the core of setting performances at Eaton HK. The decision was made not to delimit any stage or performance area, neither the start of the performances. Blurring the limits challenged expectations and enabled a fresh gaze on other people’s actions, and ultimately on our own.
The festival celebrated performance art with no formal boundaries. At its core were two literary inspirations. The first, by Antonio Tabucchi, describes the alteration of an average man in the context of 1930s Portugal, reflecting how people respond to change in their environment. The second, a novel by Herman Melville, narrates the years-long journey of a merchant boat hunting whales for their oil, led by a captain driven by unalterable obsession. With these two works of literature in mind, the program, subtitled Pegged Legs, Hooked Hands, acknowledged and honored the precarious fragility of life, failure in creation, and uncertainty in performance.
"In these variations, we find poetry, for they convey a necessary truth that fractures the stability that is part of our lives."
Members of Hong Kong Ballet performing in Eaton HK lobby
Trista Ma & Eric Schlaefin during their performance titled, "The Kingdom of The Future", based on the 1911 play "The Blue Bird" by Belgian playwright and poet Maurice Maeterlinck. The performance started at the hotel and grew to the surrounding areas around Eaton HK.
Throughout "24 Hours In Movement", a series of Cantonese Opera scenes were performed in different locations.