For mature audience (18+) only
Creation & Performance: Luke George & Daniel Kok
Dramaturgy: Tang Fu Kuen
Lighting design: Matthew Adey / House of Vnholy
Technical Stage Manager: Gene Hedley
Producer: Alison Halit
Commissioned by: Campbelltown Arts Centre
Bunny was commissioned by Campbelltown Arts Centre (AUS), co-produced by The Substation (SIN), with support from the Playking Foundation (AUS), Australia Council for the Arts, Victorian Government through Creative Victoria, the National Arts Council (SIN), Singapore International Foundation, Abrons Arts Centre (NYC) and Tanzfabrik (BER).
Duration: 2 h
In order to unravel shared lines of connection, to suspend tension and to unleash collective desires, Kok and George look to macramé, sailors’ knots, Chinese knots and rope bondage to weave together an interactive experience of collectivity. “Bunny” is a nickname given to the person being tied in rope bondage. In this work, we ask ourselves this question: What if everyone (in the theatre) is a Bunny?
Bunny received a nomination for Best Contemporary and Experimental Production at Green Room Awards 2018 (Australia). It was voted as one of the Top 8 Moments at TBA Festival in Portland 2017 by Portland Monthly (U.S.A.), and also one of the top 10 shows performed Australia wide by a national or international performing artist / group for 2017 by Arts Hub (Melbourne, Australia).
Daniel Kok studied Fine Art & Critical Theory at Goldsmiths College (London, 2001), Solo/Dance/Authorship at the Inter-University Centre for Dance (SODA, HZT, Berlin, 2012) and the Advanced Performance and Scenography Studies in Brussels (APASS, 2014).
In 2008, he received the Young Artist Award from National Arts Council (Singapore). He is presently the artistic director of Dance Nucleus, a space for independent dance in Singapore. “Q&A”, “Planet Romeo”, “Cheerleader of Europe”, PIIGS, “Alpha”, “Bunny”, “Mark” are his main performance works that have been presented across Asia, Europe, Australia and the USA.
His artistic research on critical spectatorship and audienceship has led him to explore specific “figures of performance” such as the pole dancer, cheerleader, bondage master and military commander. He is now exploring a notion of Trans-Individuality in “xhe”, a durational dance and installation work with visual artist, Miho Shimizu (Tokyo) that premieres in October 2018 in Singapore and Sydney.
Raised in Tasmania and based in Melbourne, Luke George creates new performance work in Australia and internationally / interculturally, through experimental creative processes with collaborating artists. Luke’s work is exploring the ways in which we may experience presence and the present, in order to look for alternative ways of being. Luke takes daring and at times unorthodox methods to explore new intimacies and connections between audience and performers. He wishes to offer a space of creative rupture to provoke thought and action around how we can be in the world and be with each other.
His work is based in a long-term research into “relational performance practice” that is rooted in the choreographic, and engages with other art forms. His works “Public Action”, “Bunny” (co-creation Daniel Kok), “Erotic Dance”, “Not About Face”, “Now Now Now” and “Lifesize” and have been performed extensively throughout Australia, Japan, Singapore, France, Germany, Austria, Spain, Norway, Finland, Netherlands and U.S.A.
Feedback and reviews:
“Two hours disappear quickly in “Bunny”, a bondage-performance event in which desire hums beneath explorations of trust, consent, collective responsibility, spectatorship, sexuality and power… “Bunny” is a momentary explosion of questions. It is a temporary community. I leave abuzz with an emergent sense of my own place in those questions; with a new sense of my own desire.” (Review by Cleo Mess for RealTime Arts, Sydney)
“As a piece probing the relationship between artist and audience, Bunny is a very effective one. Rope bondage is a fitting metaphor to expose and explore the expectations and contracts between the two parties. The artist-audience relationship is a consensual one as both have permitted themselves to be in the same space, but who truly gets to dictate artistic content? Is the artist serving the audience’s needs, or is the former merely playing with the latter? Bunny as a work asks all these questions and more. It is a bold, evocative work, and (if you allow yourself to be un/restrained) great fun as well.” (Review by Daniel Teo for MAGCUL, Tokyo)
“These points of connection – manifested in ropes and restraints tied with an air of ritual and reverence – ensure that Bunny highlights something all too rare in the theatre: an embodied sense of engagement and community. Not only does the work make us part of the performance; it emphasises our shared involvement, transforming onlookers to performers, regardless of whether we are tied up on stage or watching on enthralled. Bunny is an intimate exploration of trust and acquiescence, artistry and sensuality, queerness and play; a thrilling, exquisite and compelling.” (Review by Richard Watts for Arts Hub, Melbourne)
“Bracingly transgressive, Bunny poses many questions around consent, privacy, trust, power and collective responsibility and moral agency. Nevertheless, its atmosphere is predominately a safe one that, even as the work slowly breaks down conventional social and theatrical boundaries, momentarily binds together everybody present-performer, participant, observer in ways that can’t be seen.” (Review by Ben Brooker for Real Time Arts, Adelaide)