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Mata Hari_final no Text Website Crop

March 31 – April 3, 2016 at Studio 16 (1555 West 7th Ave, Vancouver, BC)
Preview (2 FOR 1 TIX): March 30 at 8PM | Shows: March 31 – April 3 at 8PM & April 2 – 3 at 2PM
Tickets: $25 (available online here)
Performed in French with English surtitles

Created by Rachel Peake & Sinziana Corozel
Directed by Rachel Peake
Sound Design & Composition by Mark Haney
With Sinziana Corozel, Scott Augustine, Shane Snow
Set Design, Costume Design, and Stage Management by Sarah Mabberley
Poster Image by Emily Cooper | Poster Design by Darryl Ahye

Developed in 2014/2015 with the support of the British Columbia Arts Council and the Boca del Lupo Micro Performance Series Residency Program

Single Line Theatre engages under the terms of the INDIE 2.1, professional Artists who are members of Canadian Actors’ Equity Association.

MATA HARI is a non-linear, narrative-based physical theatre piece examining and interpreting the constructs of identity and performance through the prism of Margaretha Geertruida Zelle MacLeod’s life, otherwise known as the iconic Mata Hari. The project transposes Mata Hari’s controversial life using both the poetry of movement, and that of spoken text, asking: how do identity, sexuality, and performance intertwine?

The development phase of MATA HARI culminated with a one-week workshop and a public performance of the work-to-date in January 2015 at The Anderson Street Space (TASS). We created below a video presentation of the work explored in the development workshop.

The development workshop involved the following artists:

Rachel Peake – Creator/ Director Scott Augustine – Performer (Chorus 1)
Sinziana Corozel – Creator/ Performer (Mata Hari) Shane Snow – Performer (Chorus 2)
Malcolm Dow – Composer/ Sound Designer/ Foley Artist Billy Marchenski – Performer (Chorus 3)



Mata Hari is a woman whose mystery has stood the test of time. Her story has many facets: she is a tragic heroine who was abused and mistreated but rose out of her own misfortune to become a trailblazer; she is a mother of modern feminism who openly discussed her own sexual desire and who displayed her body according to her own rules, not those of the society in which she lived; she is the performer who carved a new place for dance in European society, melding Indonesian Sumatran dancing with elements of provocation, paving the way for the modern dance movement; and she is the alleged international spy who was felled by firing squad for spying for the Germans against the French in the First World War, though she claimed innocence to her dying breath.


As physicality and physical expression were so central to Mata Hari, they are also central to our depiction of her story. The project employs techniques of physical theatre and dance-theatre, in which emotional states, passions, and sentiments pass through movement, and the necessity of text springs from the body. Choral work, strong gestural movement, and object transformation are intrinsic to the artistic vision of the project. MATA HARI is also informed by in-depth investigation of the Indonesian dance practices on which her work was based, and of the movement that was springing up around her at the same time, seen in the works of other artists such as Isadora Duncan. The play is devised and performed in French, with a majority of the script utilizing Mata Hari’s own actual words as recorded in the French War Council interrogation files of the time.



City TV: |OMNI TV:

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