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"So beautifully sublime; the depth of pure authenticity, ridiculous skills and breathtaking honesty..." 

Tess Beck, audience participator.

For Whom The Bell Tolls

A declaration of hope.


For Whom the Bell Tolls is a transformative public art experience, merging circus, participatory art and a tolling bell.  

Drawing on the bell’s sonic wonder, the intimate experience of participatory engagement, and the virtuosity of circus, this project seeks to honour and acknowledge the power of hope in the face of adversity, uncertainty and fear- communicating and celebrating the hopes of a community. 

A transformative, participatory art experience, it invites the public to share their deepest hopes, bestowing them through an intimate ritual of exchange upon the artist who transports the hope through a personalised physical rite before virtuosically ascending 12 metres of rope to toll a bell in a sonic offering that resounds across the landscape...

Through the aural resonance of the bells tolling the sound frequencies surrounding onlookers will be altered, momentarily placing everybody on the same wave-length -a powerful uniting of energy through sonic frequency, inspiring a reconsideration of our unity and connection through hope.

  • Currently in development. Anticipated to premiere in late-2023.


Director/Artist- Bridie Hooper

Bell Concept, Design and Tuning- Anton Hasell

Dramaturg- Liesel Zink

Sound Design – Todd Kilby

Set Design- Josh McIntosh

Artistic Mentor- Ida Sophia

Rigger - Helen Clifford 

Producer- Tom Pritchard

Video of work in progress showing presented at Brisbane Powerhouse in April 2022.

Filmed by Jade Ellis. Music by Nick Léon.  Performed with the support and generosity of invited guests.

This development was supported by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and by the Queensland Government through Arts Queensland . It has received additional studio support from the wonderful Brisbane Powerhouse, Circa and Flipside Circus.

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