the danceplay:
and the empty space of his shadow

Using movement as the main text, the story weaves in and out of hard reality and psychic/spiritual explorations. The lovers undertake to decide how the remaining days of living with Aids will be lived, how his shadow will disappear or be remembered, and how to arrange their bedroom's furniture in the meantime.

The tone is sensitive and meditative; nuanced movement, music and monologues secretly revealing information that richly colours the theatre experience. A simple, atmospheric score by Francois le Roux supports the unique movement style of solo-performer Acty Tang, stretching theatre and dance expression to new territories.

The danceplay focuses on the personal/relational and cultural dynamics in the love story. It explores the choices one makes in face of an epidemic that is both highly public and intensely personal.

The lovers also confront their cultural heritages in face of this modern tragedy. Diaspora and globalisation lurk behind the thematic and artistic treatment of the story. The audience may even get to learn a word or two in Chinese.

The writing on the right is the title of the danceplay in Chinese - written sideways.

Both artists are border-breakers in their arts. Francois le Roux works with live improvised performance on cello, piano and organ, involving the audience to help in creation. His "philosophy" is embodied by the name Ha! which he works under - the very moment of surprise, of creation.

Acty Tang blends expressionism and technique to create a movement language beyond coded danceforms. He adopts the individualistic, innovative approach from First Physical Theatre Company, with which he performed in Gary Gordon's Bessie's Head. Critics hailed the danceplay as a "leap forward" in South African physical theatre ( Daily Mail & Guardian, 21 March), and similarly in Die Burger (22 March).

Tang was trained at the Drama Department of Rhodes University. His first appeared in a professional work with First Physical in Durban, at the Jomba! Contemporary Dance Experience in 1999. In 2000 he toured nationally with the company in Bessie's Head. He stages original, innovative dance work at the FNB Vita Dance Umdudo: in 1999 performing in two works, his own work, Your Proximity, being a personal take on butoh. In 2000 his The warmth I feel met with excellent responses, and became the origin of and the empty space of his shadow.