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Theatrical Fiasco Melbourne season; the cast included a young Rachel Griffiths. "Instead of allowing dramatic focus to be flexible and variable, Splinters let it alternate between fixed and non-existent, full-on and full off. ‘Theatrical Fiasco’ interleaves Mardi Gras and Judgment Day. It is less fiasco than fiesta . . . Okay, Splinters, you’ve destroyed all the rules. Now what?"
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Village of Captive Souls Splinters, South-west regional NSW Tour, August -September 1994. Tour includes Wagga Wagga, Cootamundra, Hay, Deniliquin, and Wodonga.
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Fuck Jesus Coke First version of the work that would become Theatrical Fiasco and then Howling in the Halls of Night. "We wanted it to stick in everyone’s craw—we decided to call it ‘Fuck Jesus Coke’, which we thought were three potent words, perhaps the 3 most potent words in the English language. The profane, the sacred and the capitalist God, you know, this Coca Cola."
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The Crime of Yelling (Fremantle season) Season of performance at the Fremantle Fringe Festival, held at the time of the Americas Cup where an Australian yacht famously won for the first time. Billed as ‘Wild Dance—Theatre Art—Environmental Theatre’.
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This Fantastic Lake First season of performance by Splinters, as part of International Youth Year. "The invention of a form, a company, and a policy of stringent disrespect for the already-established."
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Massive Love of Risk (Newcastle) "a... diverse environmental happening. Staged outdoors, it utilised large mirrors centred around opposing trailers and park benches from across which the performers addressed one another throughout a number of short semi-scripted vignettes,"
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Dirt Babylon Reunion performance of former Splinters members and artists from The Village Festival, as part of The Village in Glebe Park for the 2013 Centenary of Canberra
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Long Time Earth View Gone Splinters performance written by Khail Jureidini performed at the iconic Shine Dome. It was the first time that the dome had been used for anything other than academic conference.
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Summernats Spectacle performance commissioned by Chic Henry, Director, Summernats Street Machine Festival
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Howling in the Halls of Night (Canberra) Canberra season of this original work, also called Theatrical Fiasco. "It is the essence of something long forgotten alive with the gestures of ghosts and the gossip of ideals. In the silence of clamour, a band of raggle-taggle gypsies shout the last round at the Glenrowan Hotel."
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Guardians of the Concourse Spectacle performance commissioned by Robyn Archer AO for the inaugural National Festival of Australian Theatre. It is estimated that 2-3000 people watched each of the three performances.
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Gumboot Full of Blood (Adelaide pt2) Shown on some posters as After Brecht Fast. Splinters performed scenes from Gumboot Full of Blood in a nightclub dressed in pink tutus and leather jackets.
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Gumboot Full of Blood (Adelaide Pt.1) 'The basis of ‘Gumboot Full of Blood’ is drawn primarily from Albert Camus’ ‘Caligula’, Jack Henry Abbott’s ‘The Belly of the Beast’, the poems of Arthur Rimbaud and the short stories of Edgar Allan Poe.'
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Gumboot Full of Blood (Melbourne) Also known as No Tickee/No Shirtee for the Next Wave Festival. "A complex piece which explored mixed media, shadow puppetry, video, as well as performance. It is not uplifting by any means, though scenes were lightened with some comedy, the exploration of the male psyche was macabre and I found at times too violent, too shocking and too extreme."
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The Crime of Yelling (Canberra) Season of performance in an empty derelict house in suburban Canberra described by a reviewer as "the voice of the artist, insistent and powerful, the maker of new images."
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Cry Stinking Fish (Melbourne) Season as part of the Spoleto Fringe Festival. Described as 'a grotesque form of performance, portraying the world as we collectively see it using elements of slapstick, Commedia Dell ‘Arte, theatre, dance and visual expression . . .'
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Autogeddon Performance based on the book Autogeddon by Heathcote Williams. The audience travelled in their own cars from Gorman House to the roof of the City West Car Park, Canberra. The audience sat in cars and heard a pre-recorded soundtrack on Radio 2XX while watching.
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Cry Stinking Fish (Canberra) "Splinters have turned G Block Gorman House into a mind-scape, yards of tulle billow from the ceiling, mummified papier-mache corpses hang from the rafters, knotted ropes, junk, the loose ends of material existence are scattered around the set."
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As Free as a Bird One off performance for Sidetrack Third Annual Contemporary Performance Week.
"...we learned that we had caused a real furor. Half of the conference said, ‘That is not performance—that is bullshit; that is not what we are trained to do’. The other half said, ‘That is fantastic, that is the spirit of improvisational theatre. What about the moment when the guy was talking about his father, did his father really die, who knows? But that moment was so tender and touching. And the other guy is yelling at him’."
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Scent of the Wind - Seen to be Gone Splinters production devised by Michael Simic and Khail Jureidini. Notable as the only Splinters production involving neither Patrick Troy nor David Branson, who were unavailable.
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Open Season 1992 One-off performance as a part of Open Season 1992
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Howling in the Halls of Night: A Theatrical Fiasco Sydney season described in a media release: '...outsize puppets loom, Ned Kelly re-emerges from his mythological self; the passion of Castro and Pedro unfolds, Krazy Kat and Ignatz engage in their endless ritual of philosophical romance and brick-hurling, and Godot, at last, arrives . . .'
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Utopia / Distopia Splinters celebrated its tenth year with a spectacular involving 60 members of cast and crew, Utopia/Distopia, set on Lake Burley Griffin's Springbank Island
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The Second Scream Original play by Graham Henderson directed by Patrick Troy, premiered by Splinters under the banner Pure Theatre, to differentiate from the spectacle works it was better known for.
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Faust: the Heat of Knowledge Original work based on Goethe. Commissioned. by the Australian National University for its 5oth anniversary, directed by Patrick Troy and featuring an original score by Professor Larry Sitsky.