![]() Dance seems to have had the same acceleration as action movies – John wick’s martial choreography – forgetting that at times stillness is all that it is needed.Frequently Asked Questions About Buying and Selling Whisperings Tickets There were traces of enquiry on lies and truths in social interaction but most of all there were the beautiful moves of the dancers together with the good acting, along with one or the other image among the fragmented narratives or dreams. The piece is closely related to the one for the Bausch’s ensemble, a flood of images that brings almost to sensory overload, minus the stunning scenography and is half of the length. Without (partially) whole stories – are they real ones? – the questioning of one’s own existence becomes shallow. It is a stew, a tasty one but it does not allow for a good mouthful bite. there are plenty of stories, fragments, stop and go actions, and one too many frame and reframe. I am all for being transported abruptly into meta-realms by drastic changes of light and I enjoy surreal and absurd twists, drama and fake melodrama. #Whisperings gathering 2019 tickets freeGoing back to the distancing effect, it is, in fact, one of my favourite dramaturgical devices together with free associations and references. Every tragic moment is levelled down with careless levity with the stock characters seemingly on the verge of a nervous breakdown or in search of an author. Dancers perform several CPR sessions on stage and in one of them a voice squeaking ‘the end’ is associated with the pushing of the chest as if reviving a broken toy. Death then leads the performers into a danse macabre: either by romantically slow dancing with them, transmigrating souls from one mouth to another or simply having people collapsing. Memorable is also the group gathering around a self-sacrificing victim, transforming him into a skeleton with black and white paint. There are also nice images, executed in a brilliant realistic manner like the mass shooting sequence where the bodies jumped as if hit, or when a schizophrenic teddy bear (Tom Weinberger) verbally abuses and gaslights Zander Constant. There are a few moments of pure musical-like entertainment topped with cheesy music and lyrics. Through repetitions, it acquires dramatic power and is undercut. The structure of the micro-scenes is similar: with a change in lighting, we are brought back to reality and a seemingly unrelated action to the previous one start. The performers exhibit plenty of bravura but after so many twists and turns, nothing is left to remember nuances and associations last only a split second before dissolving leaving no clues. It reminds me of Crystal Pite’s (Kidd Pivot) intricate tapestry of movements and words or Peeping Tom, only faster. Shaky and skating, it is the aesthetic of the dance socks that allows gliding and sliding without burns or cuts. Their movements are liquid, concise and convulsed, jarred and jammed, forward and backwards as we had a remote control. The bodies expressive from head to toes, bend and twist at extremes angles, ravel and unravel themselves as contortionists challenging gravity. The words are an extension of the movement material: movements or words are expanded literally or for association moving back and forth. Their words are illustrated and challenged by a syncopated and pacy mime. With a dramatic change of lights – a cone coming from downstage left – the action starts. The space is empty apart from a door standing by itself, a megaphone and a line of chairs off stage. Upon entering the auditorium, we are literally greeted by the dancers coming in and out of stage while stretching, rehearsing and chatting. ![]()
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