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The Sydney Front: Photocopies of God

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The Sydney Front: Photocopies of God


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‘PHOTOCOPIES OF GOD
AN OUT OF MIND LOOK
AT FAITH AND RATIONALITY
AT THE END OF THE TWENTIETH CENTURY

The Sydney Front urgently seeks divinely-inspired material for its new theatre work PHOTOCOPIES OF GOD.
Having almost exhausted its human resources in its previous show THE PORNOGRAPHY OF PERFORMANCE, the Sydney Front returns to besiege the sacred, tearing at the walls of the theatre in a merry-go-round of ecstatic utterance and meditative frenzy.

Performers become mystics in their quest to utter the unutterable, stage the unstage-able, bare the unbare-able.

But must they break the circle of mere impersonation to move beyond the carnal towards the sublime?

Or is a good copy enough?’
- Invitation to the opening performance of Photocopies of God, 1989

Photocopies of God presents images of a theatre struggling to move beyond the exchange of desires, beyond even the carnal itself. The performers attempt to break the endless cycle of impersonation and to submit themselves to the supreme gaze. - Press Release for Photocopies of God, 1989

Warning: Sydney Front's performances may contain corse language, adult themes and nudity. Suitable for 18+ years old.

Also available: Staging the Audience: The Sydney Front, Waltz, John Laws/Sade: a confession, The Pornography of Performance, Don Juan, First and Last Warning, Passion

The Sydney Front was an Australian performance group formed in 1986 particularly known for the way they used the audience as part of their productions. They combining elements of performance art and experimental theatre in their work.[1] The core of the group were performers John Baylis, Andrea Eloise, Clare Grant, Nigel Kellaway and Chris Ryan. Kellaway had been the first Australian to train with Japanese director Tadashi Suzuki.

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