Halfbreadtechnique is part of Low Budget Series, a group of economical performances by performance artist Martin Schick.
Halfbreadtechnique is perhaps the wild card of da:ns festival this far. In this performance, audiences are faced with the unexpected as everyone becomes an active participant in the experiment – not the usual sit and watch from the gallery type of contemporary dance performance.
Halfbreadtechnique is not dance, but rather a theatrical negotiation on the subject of sharing in a capitalist society.
Schick is an excellent communicator, with a head microphone on the arena opening a dialogue with the audience. Halfbreadtechnique is explained at the start of the performance while engaging the public, Martin shares some bread and asks me to do something good for someone in need next time.
The message is clear from the beginning, following a performance where the audience responds and realises the issues surrounding sharing as well as corporate responsibility in a capitalist society.
Schick displays on stage a series of pictures and print outs from the sponsorships and subjects that make Halfbreadtechnique possible. Foundation Nestlé pour l’Art is the primary sponsor of this production and gains a special place on stage; the capitalist willingly giving, benefactor, master of all good things?
However, the latter is amongst a collection of billionaire families that do business out of giving – corporate responsibility and charity.
Martin invites on stage a dancer from an economically troubled country to share the stage as well as performance fees, and consequently, the audience is invited to share the stage too, the wage, the music as well as the lighting, subdividing the performance into smaller pockets of dance.
Towards the end of the performance, Martin Schick is surrounded by many audience volunteers dancing on stage, sharing a professional fee and thus becoming an integral part of a joke on capitalism and sharing economy – doing good for the others.
Halfbreadtechnique is a humoristic analysis on capitalism, pertinent in a country surrounded by wealth and a financial system that supports corporate responsibility and charity work.
Martin Schick is very bright indeed – unfolding a performance that lives up to its standards solely relying on audiences contributions and engagement with the art form, leaving no room for special effects and theatrics – the work is raw, honest and an enlighten discussion on capitalism and performance art.