Double Think


Double Think

Brisbane Powerhouse

Brisbane Powerhouse Turbine Theatre

14 August – 17 August 2013


Reviewed by Meredith Walker


Double Think is a double-bill of two works by the award-winning Australian choreographer and performer Byron Perry



Double Think
Byron Perry presents a shifting world of light and shadow in Double Think, with this playful investigation into opposition. Through movement-based conversations, one tall man and one short woman make imperfect sense as they shed some dark on a light subject in a complex world of simple objects. Double Think utilises performer-operated lighting and live set manipulation to create a constantly evolving landscape of relativity. A mischievous exchange between movement and inertia, light and dark, this is a marvel of motion from an award-winning creator.


It’s safe to say our relationship with TV has changed dramatically over the last decade — but aren’t those of us that grew up with it just a little bit uneasy when we read articles saying TV is dead? While we sit on our couches bathed in the luminescence of our smart phones and tablets, the television is desperately contorting itself through whatever digital hoops necessary to escape the redundancy that threatens. Gogglebox is a nostalgic romp for a short attention span; a truly analogue experience of the psychological relationship we have all had and may continue to have with our beloved box.


Double Think Arts House Version


In Nineteen Eighty-Four newspeak, Doublethink means the power of holding two contradictory beliefs in one’s mind simultaneously, and accepting both of them.


So how can you know, yet not know something?


This the dilemma explored in Byron Perry’s Double Think, a conceptual contemporary dance duet featuring Kirstie McCracken and Lee Serle.


In its exploration of binary oppositions, Double Think is an abstract work, a dance not of character or narrative, but of the juxtaposed concepts of dark and light.


It is a simple, yet visually impressive spectacle.




The staging is minimal and practical, yet interesting and engaging; a wall of multi‐sized movable blocks frames the action and also allows the orchestration of lighting and set to feature as part of the choreography. Indeed, the performer-operated lighting and live set manipulation is not only noteworthy, but contributes to the fluidity of the piece as a whole. And though it can be brash and confronting at times, the lighting is a feature and quite clever in its execution.


Award-winning Australian choreographer Byron Perry has created a bold work that confirms dance as being about movement as much as moves.

The performers deliver powerful, yet lithe performances that impressively convey the turmoil of dystopian Doublethink, yet infuse this intensity with moments of mischief, comedy and fun. It is a polished and entertaining piece of dance theatre performed with brutal clarity, but also engaging exuberance.



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