Industrial/ power electronics in theatre and contemporary dance?

[re:evolution]

As my wife works within the cultural arts fields I was taken to a contemporary dance show last night.  In fact it was an attempt at being a 'provocative' piece by confronting body image through putting morbidly obese dancers in a dance work.  More details here: http://malthousetheatre.com.au/whats-on/nothing-to-lose

It was all pretty tame and pedestrian in its tackling of 'body politics', but I was rather surprised when mid show Pharmakon's track 'Ache' from her Abandoned album came blasting out of the speakers.  I have no idea how the artistic director would have come across Pharmakon, but it seems an odd pairing with music for the rest of the show.  Perhaps Pharmakon's coverage in outlets like Pitchfork Media is the reason? Who knows.

So this got me thinking - what other unusual pairings of industrial/ power electronics in theatre or dance works are people aware of?  Thanks to my music collection my wife has used tracks in her own contemporary dance productions from Ulver (later era stuff), Atomine Elektrine, Ben Frost, Bad Sector etc (to name a few), and I do remember Mikko posting a video of a contemporary dance solo which has used a Grunt track.

Any other examples?

[FreakAnimalFinland]

There used to be video of contemporary dancer from Denmark using Grunt "seer of decay" as background music. I also know on theatre in Finland use Alchemy Of the 21st Century material in their shows. Choice of one of directors, not really associated to nature of play.

I don't feel that it would be absolute necessity to cross-over to other fields of creation, but nevertheless I think it would be very nice to see more of it. I would assume many associate dance, performance arts and such with other types of sounds than pure "industrial noise", but if spirit of sound influences work, results could be good. In past Japanese noise was connected with butoh dance. In some occasions, could be more interesting live material than only man with table full of gadgets.

However, if it sinks to this lowest of modern feminist provocations a'la "women getting over fatness issues", I have zero interest. No matter who's playing on background.

[re:evolution]

However, if it sinks to this lowest of modern feminist provocations a'la "women getting over fatness issues", I have zero interest. No matter who's playing on background.

Well I must say that I do agree. The section of the piece during which the Pharmakon track was used was effectively displaying 'anger and frustration' - which was clearly linked to Margaret's shrieking vocals in the track. However my own personal issue is the 'negative association' impact it will have. I am sure that every time I now listen to that particular Pharmakon track I will be negatively reminded of that dance piece.....

[cr]

Not really Industrial or PE I think, but a few years back I saw "Kindertotenlieder" by Gisèle Vienne & Dennis Cooper with live sound from KTL (Stephen O'Malley & Peter Rehberg). Can not comment on the piece itself as I'm far from an expert, but at least the music was quite loud and good.