Yann was commissioned to design the set and costumes for this exciting contemporary dance piece choreographed by Dam Van Huynh. Yann collaborated to create a changing structural environment to intensify the exploration of spatial boundaries. 

Click here to visit the Van Huynh Company website.

Set & Costume

  Photos by Sammi Fang, Peter Hallam and Mikah Smillie

  Photos by Sammi Fang, Peter Hallam and Mikah Smillie

  Photos by Sammi Fang, Peter Hallam and Mikah Smillie

 Photos by Sammi Fang, Peter Hallam and Mikah Smillie

Photos by Sammi Fang, Peter Hallam and Mikah Smillie

 Photos by Sammi Fang, Peter Hallam and Mikah Smillie

photos by Sammi Fang, Peter Hallam and Mikah Smillie P

 Photos by Sammi Fang, Peter Hallam and Mikah Smillie

 Photos by Sammi Fang, Peter Hallam and Mikah Smillie

 Photos by Sammi Fang, Peter Hallam and Mikah Smillie

 Photos by Sammi Fang, Peter Hallam and Mikah Smillie

 Photos by Sammi Fang, Peter Hallam and Mikah Smillie

 Photos by Sammi Fang, Peter Hallam and Mikah Smillie

 Photos by Sammi Fang, Peter Hallam and Mikah Smillie

 Photos by Sammi Fang, Peter Hallam and Mikah Smillie

 Aesthetically the piece worked well; the frame served as an interesting element, providing us with a sense of dimension and proximity that bounced off the movement content rather strikingly. I found my concept of time completely disappeared and even now I have no idea of how long the piece was, a demonstration perhaps of the fact that Van Huynh is in his own very stylised world, and has perfected the art of drawing an audience into it.
Anna Crofts, Critical Dance Magazine.com, July 2009

Dressed all in grey five dancers (three male and two female) including Van Huynh himself, walk onto the stage at Jacksons Lane and begin to set the stage for their performance; the final performance of the evening. This is the only piece of the evening to indulge in a full stage set and Yann Seabra’s minimalist design is a delight. A steel box/cage without walls is brought forward and placed at the edge of the stage, four grey steel panels cover the back wall, there is a computer and keyboard in one corner and a microphone in another. In turn each dancer puts an outreached hand into the empty air within the steel cage while the rest of the dancers take it in turns to demarcate the dance space with grey electric tape.
After the space has been marked a female dancer steps inside the open box and begins to dance. The dancer performs slow movements on bent knees twisting her torso, contracting the rib cage and reaching her arms in the air. Accompanying her movements come the startling sounds of the amplified brittle staccatos of gasps, spits, chokes and sighs all coming from the mouth of a woman standing behind a microphone at the corner of the stage. As the female dancer in the cage moves and the lady singer gasps and moans the cage is rotated slowly around her and they all move slowly backwards. This initial image is striking. Bathed in light the young blonde dancer looks like a beautiful statue and the adoring men that rotate the box might just as well be rotating the plinth on which she is mounted.
With concentrated reverence the cage, which dominates the stage, is slowly moved around from one side to the other throughout the piece. Virtuoso piano scales and synthesized music accompany the female singer’s isolated sounds, which are almost like a deconstructed version of ‘scatting’, but neither can take away from the prominence of this human voice which in such a guise sounds so far from human.
Erin Whitcroft, July 2009