In performance

Gallery

Portraits and production photographs, shown at the shape they were taken in. The productions are Ana's own labels, carried over from the images themselves; where she left one unnamed it stays unnamed here.

Portraits

Black-and-white landscape portrait, both arms raised into the hair, eyes wide to camera.

Black-and-white full length, leaning on a palm trunk at the water line, lace top and denim shorts.

Close portrait under trees at the shore, yellow and green scarf, looking away to the right.

Outdoors at dusk in a yellow and green printed halter dress, looking off-camera.

Full-length: mid-stride against a grey steel wall in a short blue lace dress and black high-tops.

In character — green velvet hat, red lips, painted cheeks, black coat. Phone photograph, taken by her.

Head-and-shoulders portrait against a brick and stone wall. Orange curls, blue cardigan over a white top, eyes straight to camera. The photograph the current site opens on.

The same brick-wall sitting, framed a little wider and warmer. Orange curls, blue cardigan, level gaze.

Extreme close-up: one green eye and a fall of red curls, the rest of the face out of frame. Deliberately half a face — do not crop it further.

From the same sitting, eyes lowered, hand at the temple. The quietest frame of the set.

Colour portrait, bright orange curls, blue-and-green patterned halter neck, shot outdoors against dark shade.

Colour portrait, orange curls falling across one eye, navy halter neck, a small closed smile.

Colour portrait, one hand pushing back the orange curls, black halter neck, half-smile. Shot against a dark glass door.

Black-and-white portrait, both hands in the hair, head tilted, close crop.

Upright portrait from the same sitting — hand in the hair, navy halter neck, direct gaze.

Full-length, caught mid-jump off a grey industrial wall — monochrome-print dress, black tulle underskirt, high-tops. The photograph the current site uses on Contact.

Head back against a burnt-orange wall, teal headband, looking straight up out of frame.

A joke portrait: she holds a lock of her own red hair across her lip as a moustache, eyes wide. Small file.

Pushing against a leaning palm on an overcast beach, full length, red hair.

Against a palm trunk in a rainbow off-the-shoulder top, quartz pendant, deep red curls.

Black-and-white upright portrait against a dark ground, patterned halter neck, curls to one side.

Black-and-white studio portrait on black, bare shoulders, rim light through curly hair.

Black-and-white against a palm trunk, off-the-shoulder striped top, half-smile.

Black-and-white rehearsal-room photograph: she turns mid-movement in black, a second performer blurred behind her.

Under a thatched roof, chin resting on her hand, striped bright top, looking up out of frame.

Black-and-white, leaning against a palm, off-the-shoulder printed top, looking away.

The same water series, desaturated to grey, dark hair, eyes open to camera.

The same water series — dark water, pink lip, the face held just clear of the surface.

Floating in water, face at the surface, red hair fanned out around her head. The strongest frame of the water series.

The brick-wall portrait, upscaled 2x for the full-bleed hero. Detail above 1000px is synthetic.

Two performers stacked: a man in a bowler above, she below in a green jumper pulling her red hair out sideways. A THIRD head is cut in half by the bottom edge in the original file.

A warm outdoor portrait — deep red curls, yellow and green scarf, looking off to the right. From the Alchemical Art site, not from anamirtha.com.

Tara, Under The Weather

Seated in a pale slip and cardigan on the crate, turned towards the bird puppet at her shoulder.

Face to face with the bird puppet across the suitcase — she leans in, it leans back.

She kneels at the open suitcase holding a paper scrap while, to the left, a puppeteer works a shaggy bird puppet on sticks.

Seated on the crate in the pale slip, hands folded, the bird puppet beside her.

A pool of blue light on a black stage: a performer carries her, back arched, white nightdress and red shoes, the puppet between them.

A wide letterbox still — she sits at the far left, the bird puppet entering from the right.

Lying on a purple drape with the E.W.G. suitcase held above her, legs in the air.

She kneels behind a battered suitcase marked E.W.G., arms folded on it, smiling out at the audience. Tan coat, red hair.

The same moment framed wider on a black stage.

Standing on a black stage in a pale slip, the E.W.G. suitcase balanced on her raised arms above her head.

If You Shoot a Boot You Might Get Wet

The two faces crammed into a suitcase lid used as a car windscreen, mid-panic.

The two of them eating off plates in a nest of suitcases, a paper flower on the table between them.

Flavia — blonde beehive, pearls, floral dress — open-mouthed beside an empty suitcase.

Flavia curled inside an open suitcase, eating, surrounded by stacked luggage.

Inside the suitcase house: Larry on a chair, Flavia standing with a saucepan.

The suitcase mountain from the front — Flavia downstage right with a party blower, Larry sprawled across the cases behind her.

Larry sprawled across the suitcase mountain in shorts and helmet, Flavia reaching over him.

The full set: a mountain of suitcases, Flavia in a blonde beehive and floral jumpsuit reclining on it, Larry in a cycling helmet and Hawaiian shirt at the right.

Larry reclining on the case mountain, Flavia standing over him with a party blower.

Flavia holds a shoe out at arm's length, Larry grimacing beside her against the wall of cases.

The same gag framed wider — helmet and beehive filling the suitcase frame.

Suitcases

Close up in the green suit, mouth wide, one gloved finger in the air, the audience and the case tower behind.

A park audience sitting on the grass; three performers in green full-body suits flank a man in a shirt beside a tower of cases.

Black-and-white, outdoors: three performers in 1940s coats and gloves around a stacked luggage trolley on a lawn.

The Ball

Black-and-white: a chequerboard dance floor in a town square at night, a dozen dancers in white tie mid-step, globe lamps overhead.

The same show — dancers in tall powdered wigs and striped skirts turning together on the chequerboard.

The Aperitif

Black-and-white street performance: she stands centre in a dinner jacket and bow tie, arms out, a standing crowd behind the barrier.

The Snow Queen

On a bench in a red waistcoat, white shirt and brown skirt, leaning forward into a hard side light.

Two performers knee to knee holding a potted red paper flower between them.

She lies along a white trestle table reaching down to a performer lying underneath it, their hands meeting.

Briefcases

A high-ceilinged room with chandeliers and a fireplace, suitcases stacked against the wall — she is swung upside down over a performer's shoulder.

Rehearsal room: she is held horizontally at shoulder height by another performer, a third spotting from the left.

Bonbibi

Black-and-white rehearsal on a bare stage — three performers stacked in a line, she crouches at the front.

Buskers

Black-and-white close-up of a performer in a red nose outdoors in London. The company, not necessarily Ana.

Black-and-white on the South Bank: three performers in red clown noses, the Thames and Whitehall behind them.

Struwwelpeter, Cuentos crueles al oído

Rehearsal room: she is on the floor, a performer standing over her holding a pair of giant scissors — the Scissor-Man.

In the studio

He carries her horizontally across his shoulders, both in black, white studio.

She is upside down over his shoulder, legs vertical against the white wall.

Two performers in black on white, arms stretched apart, fingertips just touching — she stands, he is low to the floor.

Three performers in black folded into one shape against a white studio wall, her red hair at the right of the knot.

Three performers caught mid-jump against black — she is at the left in a blue dress, two men in teal and yellow beside her.

A wide crop of the two-dancer reach — her head is in the top eighth of the frame, so a centred crop takes it off.

Elsewhere

Seen from behind in a deep red velvet gown, long braided hair down her back, her face in the dressing-room mirror.

At the left edge of the frame in a blue and green headscarf, beside a carved apsara relief that takes the rest of the picture.

Against a deeply carved stone wall, green scarf over her head, looking up and away. She sits in the right third — the wall is the other half of the picture.

Standing small in a carved temple doorway, blue vest and a blue shawl, the ruin filling the frame above her.

Framed in a black carved doorway in a long white dress with a green headscarf.

Against a green, weathered stone wall in a red cardigan, far right of frame.

Between rows of carved black pillars in a pink top, light behind her.

Seated in a temple window in a red top, looking off to the left.

Against a wall of green and blue patterned tiles, turquoise headscarf, eyes down. She is at the far right.

Against a carved stone wall in a green headscarf, right of frame, looking away.

Film

The Aperitif

Wet Picnic · 2017

Tara, Under The Weather — trailer

Quatre Mans Theatre

If You Shoot a Boot You Might Get Wet — trailer

Strange Attractor Theatre · 2011

Tara, Under The Weather

City of the Moon Theatre

If You Shoot a Boot You Might Get Wet

Rompecabezas Theatre with Strange Attractor Theatre

Two of these do not resolve against their platform’s own metadata, which usually means the video has been made private or removed. They need one human look.

Seventeen more photographs from the current site are not here: three carry a venue logo and a photo-agency watermark, one carries a photographer’s copyright line, two are other companies’ promotional images, and the rest are too small to publish. They are listed with their reasons in src/data/images.js. Three of them — the whole Vagabundos record, and the strongest frame of The Snow Queen — are worth asking Ana for clean originals of.