To director Shelly quick, departing from Beckett’s more well-known works such as Waiting for Godot is interesting, exploring shorter and more austere works that challenge actors to minimalist acting. “It is like building houses with sticks. Once you have done that, you take the sticks out and see what’s left,” said Shelly Quick. And, indeed, Beckett pieces challenge one’s ability to cut down what’s not necessary, preserving the essence of theatre.
In viewing art, the first thing an audience would look out for is “the story”, or the narrative – in more generic terms. Contact Gonzo, the Japanese dance collective currently in rehearsals with Singapore company Theatreworks on upcoming performance Revolution Per Minute, just wants to go against that.