The Rameau Project - screener

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The Rameau Project

The opera Project Inc.

Year: 2009, 90 mins
Code: NK-Rame
ISBN: 978-1-921882-22-7

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Power, culture, family, dirt, failure, violence, age, loss and reminiscence.

The results of a four-year development process by The opera Project, THE RAMEAU PROJECT is a sprawling, multi-layered music theatre work for nine performers, featuring Kellaway's "re-imaginings" of the music of Jean-Philippe Rameau (1683-1764). 
Reveling in the sometime grandeur, delicacy, complexity and underlying wit of the French Baroque, it employs seductive improvisations on a complex layering of sophisticated deceits.
Presented by Performance Space at CarrriageWorks, Sydney, August 2009.

Devised and directed by Nigel Kellaway in collaboration with the performers.
In a career embracing his skills as an actor, director, dancer, musician and contemporary performance maker, Nigel Kellaway's initial professional performance training was in music, majoring in piano and composition at the universities of Melbourne and Adelaide. He was the first Australian actor to train with Tadashi Suzuki and also worked with butoh artist Min Tanaka in Tokyo. Over 30 years, he has created dozens of full length theatre, dance and music works with numerous companies in Australia.He was a co-founder, in 1987, of the performance ensemble The Sydney Front and toured with the company extensively within Australia and Europe, to the UK and Hong Kong.

Performers: Nikki Heywood (replacing Regina Heilmann), Nigel Kellaway, Annette Tesoriero
Musicians: Heloise Pyne, Katrina Papallo, Catherine Upex, Steve Meyer, Ashley Kurrle, Michael Bell
Composer: Nigel Kellaway (after J-P. Rameau, F. Couperin and M. Marais)
Dramaturg: Bryoni Trezise
Lighting/Production: Simon Wise
Sound operation: Dara Gill

“The Rameau Project confirms Kellaway’s esoteric vision—musically scholarly, literary, in love with the cut and paste of building idiosyncratic works out of others’ classics … a modus operandi which faces the inevitability of likewise becoming itself ‘classical’.” - Keith Gallasch, Realtime Magazine

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