lina limosani

'...One’s Wicked Ways is funny and serious and highly engaging, Limosani’s deft timing and acute sense of theatre making it clear why she was awarded the 2015 Ausdance Peggy van Praagh Choreographic Fellowship.'

MAGGIE TONKIN - DANCE AUSTRALIA

ONE'S WICKED WAYS

FALL IN

UNDER MY SKIN

One's Wicked Ways was a commission by Garry Stewarts Australian Dance Theatre, for their Ignition season of 'History'. The work utilises humor and an almost obscene and absurd bravado - danced and embodied - to represent and scrutinise 'high societies' and their indulgent nature; a reflection on our propensity toward perverse pleasures and gluttony. It is wickedly entertaining, humorous, discomfiting and ultimately provocative.

Set in a historic period, the work questions the human condition and its inherent behaviours. The consequences of history form the foundation of our daily life, yet are we actually learning from the innumerable signposts from our past?

Reviews

THE ADVERTISER

'Lina Limosani’s One’s Wicked Ways was the major work in the program, and is another gem from this most original choreographic voice, with farcical baroque costumes and much made of the pointless posturing of the aristocracy — and the sticky end that awaited them.'

DANCE AUSTRALIA

'One’s Wicked Ways is funny and serious and highly engaging, Limosani’s deft timing and acute sense of theatre making it clear why she was awarded the 2015 Ausdance Peggy van Praagh Choreographic Fellowship.'

LIGHTBEARER

'Limosani is a choreographer of significance. One’s Wicked Ways is a piece in which her exploration of how people behave, and how the impact of people on each other can change the outcomes of even the purest intent.'

'Limosani’s work is politically topical, intensely Australian, and breath-taking.'

INDAILY

'One’s Wicked Ways is much more than an historical image of a bygone era; it also is a salient reminder that any political group that becomes too removed from the people will itself be removed.'

BAREFOOT REVIEW

'Limosani’s careful work becomes a brilliant exploration of two sides of history’s coin. Oppression, and being oppressed.'

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