Lloyd NEWSON : The Cost of Living
Art vidéo | super16 | couleur | 0:34:31 | Australie / Royaume-Uni | 2004

(c) photo: Lloyd NEWSON
The Cost of Living was shot on location in Cromer on the Norfolk coast: a typical, old-fashioned and faded English seaside resort. The summer season has petered to an end. An air of desertion hangs over the town.
Eddie and David are disillusioned street performers. Eddie is tough, confrontational and not afraid to defend his belief in justice, respect and honesty. David is a dancer who has no legs (as he is in real life), watching him makes you reconsider accepted notions of grace and perfection. He is quietly determined not to let his disabilities or society's prejudices get in his way. A series of inter-linked scenes show Eddie and David's encounters with other people; some are incredibly hard-hitting, others exhilarating because of their sheer physicality.

The cost of living is very much about those people who don't fulfil the market value — in the sense of playing on the words 'the cost of living' in terms of the financial issue — and looking at what happens through experience as you live: do you lose your naiveté? As you live do you lose a lot? Or does experience assist you? What I'm interested in [with] this piece is: do you become cynical and bitter as the cost of living, or do you not? So we've got lots of different characters; among those who play the more embittered ones we have the notion of Stepford [Wives] — the idea that it's important for all of us to join the club, whether it be dressing well, being attractive, being successful, and if we can't be really successful financially or in terms of fame or celebrity, at least we can be normal.

___ Note biographique

Lloyd Newson travaille depuis 1986 comme directeur du théâtre DV8 qui a eu un impact dynamique sur la danse contemporaine en provocant l'esthétique et les formes traditionnelles de la danse. Un aspect important de ce défi est son rejet personnel d'abstraction dans la danse et sa recherche sur le mouvement en abordant les questions sociales courantes. Son travail avec DV8 a reçu des récompenses britanniques et internationales.

___ listes
prizes for 'The Cost of Living'
Time Out Live Award for Outstanding Achievement in Dance — February 2006, London
Prix Italia Performing Arts category — September 2005, Milan
Cinedans audience award — July 2005, Amsterdam
IMZ Dance Screen Best Camera Re-work — June 2005, Brighton
Rose d'Or Arts & Specials category — 2005, Lucerne
Sette Jury Prize Festival Int. du Film sur l'Art / Int. Festival of Films on Art 2005 — Montreal
Audience Choice Award Festival of Dance Film for the Camera 2005 — Brasilia
Jury Prize Dance on Camera Festival 2005 — New York
Best of VideoDance audience award VideoDance2004 — Athens
Paula Citron Award for Best Choreography for Camera Moving Pictures Festival 2004 — Toronto
NOW Audience Choice Award Moving Pictures Festival 2004 — Toronto

___ Autre texte
artist's statement
I think art is something that makes us look at our lives and to think about them in a way that is more rich. I think there's a big argument for poetry and for the construction of elements. When somebody writes a great essay, they have taken the words and placed them in a certain way to make you think more deeply about that subject. That is for me the very function of art. You get together, you get a group of people, you place things very carefully in order, and the placement is artificial, but if the integrity and the focus is clear, then hopefully it makes people see their roles more clearly. And think about them. And that's what I would like to do. I love the idea that people come to see our work and if they laugh I know they've had a gut reaction, they've actually understood something. To get a laugh through movement is a fantastically hard thing to do, because [in] most dance you can be as vague as you want and you just expect the audience to sit there po-faced, there's no expectation that you have to achieve anything. But if I'm setting out to make somebody laugh, I have to be really clear ... or if I want someone to be touched I have to find out how I find movement that will truly touch someone, as opposed to just doing pretty movement. And I'm afraid that's what dance for me often is. (source: