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HOT IN HERE
 

Director:  Pigfoot Theatre 
Venue:  UK TOUR
Lighting: Jack Hathaway
Dance Floor Design and Build : Jack Hathaway



 

Co-produced by Pigfoot and Gate Theatre, commissioned and supported by Camden People's Theatre.

Supported using public funding by the National Lottery through Arts Council England.

A protest. A theatre show. An energy-generating dance party. 

 

HOT IN HERE celebrates action taking place around the world for climate justice.

 

Developed from conversations with climate activists across the globe, HOT IN HERE uses dance, real-life stories, and music to share the action taking place internationally against climate injustice, and the UK’s place within it.  

 

The show is powered by the first energy-harvesting dancefloor in live theatre. Like the collective action needed to tackle the climate emergency, the dance floor converts the collective energy of the performers’ bodies into electricity. Come join the movement. Everyone’s invited.

HOT IN HERE - MAKING OF A DANCE FLOOR
 

 

Over the last 2 years, I have designed, built and developed a first for Theatre; an energy harvesting dance floor

which harnesses energy  from movement.  Still in a 2nd phase, it is hoped that further down the line a whole theatre show, or at least most of it, could be powered by such a device. 

What was great (and lucky) with this project is the time span.  The tour taught me a good deal about how to make effective energy generation, while also allowing me to see how such a device would work on a tour.  With each incarnation new ideas were brought to the table. Even now there are new ideas being drawn. My next idea is to use compressed air in a hose system, which moves turbines.  However, we ended up with quite an effective light source when the show went to the Gate, remounted.  The use of two motors helped double output and harness power from the 'downstroke'.

Below is a small glimpse into the process in the  very early stages of development. Although no show are planned, this has been in my mind for over 3 years now. I don't plan to stop improving the design of these where I can. At the moment they are more a symbol of what could be possible in theatre and indeed beyond.  That is, creativity, good engineering and throwing out some conventions are key factors in making shows that are sustainable. Not just ecologically,  but on a human level too. 

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