RISING: Mickey by Brooke Stamp

Thursday 12 – Saturday 14 June 2025, 6pm

A dancer crouches with their leg bent, their left fingers curling inward, looking down in pain, while an audience watches in the background.

A wild trip through the psychic waste of a dancer.

In this premiere work from Brooke Stamp, the hidden, subconscious impulses of a dancer rise and writhe. Stamp pries open the usually closed space of a rehearsal studio, so we can witness the dancer at work. Spoken-word recordings of Stamp’s inner-world are amplified and warped through a feedback loop, courtesy of experimental composer Daniel Jenatsch, powering her movement. Her deep knowledge of dance is embodied, regurgitated and dislocated through psycho-physical release.

Every performance offers a new, ever-evolving experience. The creative process is alive and in real time. Her psyche balances the line. And the line is the labyrinth.

ARTISTIC TEAM
Lead Artist: Brooke Stamp
Music: Daniel Jenatsch
Design: Sidney McMahon
Dramaturg: Brian Fuata
Research Consultant: Matthew Day
Lighting Design: Matt Adey

Image: Mickey by Brooke Stamp. Photo by Christian Nimri.

Event Details

Thursday 12 – Saturday 14 June 2025
Nightly, 6pm
$30–$34

Access

Sensory Warning | Loud sounds
Content Warning | Partial nudity

Buxton Contemporary is fully wheelchair accessible. Find detailed information about building access and available resources on our Visit page. Please contact the gallery at buxton-contemporary@unimelb.edu.au or on 03 9035 9339 if you have any questions or would like to request an accommodation.

SUPPORTERS

Supported by City of Melbourne.

Supported by Chunky Move.

Mickey was originally co-commissioned and co-presented by HOTA, Home of the Arts and Performance Space (2023) assisted by the Australian Government through Creative Australia, its principle investment and advisory body.

Brooke Stamp wishes to acknowledge Brian Fuata for dramaturgical contributions to Mickey during multiple creative development stages of this work.

Brooke Stamp receives administrative and curatorial support from Anador Walsh and Performance Review.