Gauthier Dance and the art of pyrotechnics and choreography
Photo: Regina Brocke
In “Beating” from the point of view of the dynamic, slowly but surely, that love-hate is seen exceeded; yet the body plan with zeal one against another, to impact and trailing.
After two decades of absence of the scenes in montreal, it was the evening of a big first for Eric Gauthier. Quebec choreographer expatriate in Germany, he has forged his signature to the land of dance-theatre to the contact of the big names in contemporary ballet. One understands that the proud director of his company sitting in the Theaterhaus Stuttgart has wanted to give an overview of the very wide range over which its dancers are able to play. Understandable as is the desire to put full the sight, given the circumstances of a reunion with the montreal public. Only, as is the saying, ” who embraces too much, embraces evil. As the four short pieces follow one another, we stumble into overload, excess, and the dramatic demonstration.
Spare yet the late work of Virginia Brunelle with dancers German who appropriate the technique and the style bitter-sweet of the designer to accurately. Beating, piece the most convincing of the program, opens the arena with an aesthetic that is simple, light colours. The incorporation of the pulsation of the heart into the events, as well as movements in the group is conducted with delicacy. We find that which is loved of the styling and skinning of the choreographer of the romantic relationships. With relief, you get out of the binary logic-redundant roles of men and women on which Virginia Brunelle we had used so far ; in particular, thanks to the duets, bearings, and hugs between dancers of the same sex. From the point of view of the dynamic, slowly but surely, that love-hate is seen exceeded ; yet the body plan with zeal one against another, to impact and trailing. The strength of the images is detached from the face-to-face between the hyperactivity of love and the violent indifference and passivity of the love lost. On a final note, a tenderness eventually emerge and put a balm on the confrontations affected. A work encouraging.
Unbeatable icons and differences of style
Therefore, we have no doubt, with good intentions, the creations bearing tribute to Pina Bausch and Louise Lecavalier was puzzled. Is it because the ideal of beauty worn on stage by the creators seems to misrepresent those of the universe of the legendary dancers ?
One seeks desperately to the side of punk and “destroy” the Louise of the 1980s among the fireworks final, orchestrated by Eric Gauthier and Andonis Foniadakis. As if, finally, the tribute dedicated to Louise Lecavalier moved on the aesthetic is more smooth and wise of the recent works of Edouard Locke (we think here at Amalia , and his last pieces in clear-obscure). References to Human Sex slip in a first step of the two on a background of a neon strobe. Here, nothing beyond the body, the virtuosity and the energy electrifying dancers there are, but the strong presence of Lecavalier is difficult to replicate. But where is the figure of a woman who ” garoche of the guys “, as described by Eric Gauthier, in his speech of introduction ?
Born in Wuppertal, mother-city of the iconic Pina Bausch, Marco Goecke was immersed in an environment that brings, inevitably, the icon of the dance-theatre. In this solo incarnation, nerve, delivered in the speed and expense, the references to the universe bauschien are instilled in a discreet fashion. Too discreet ? They are mainly brought about by the costume, the micro and the flowers. Big problem that keeps us away from the interesting work of choreography, the music choices slide in the overhead, instead of really dancing.
The dominion given in the show
It would seem that the German choreographer Helena Waldmann has taken a perverse pleasure in corrupting and dévergonder ballet dancers. This is the only explanation they give in the face of We Love Horses. The short piece is a frasque in which a dominatrix dressed in latex and perched on stilts discipline the movements of their subjects with the aid of a long whip, smacking against the ground. The dominated : five dancers dressed in buttocks plastic, rump offered, engage in twerk with epilepsy at the sound of the whip spinning in the air like a lasso. The whole is accompanied by a soundtrack of cacophonous sound of it punctuated by screams, highlighting the atmosphere of BDSM, and invoking the atmosphere of nightmare Salo by Pasolini. In this aesthetic of violence to the characters, the surrealists, the designer made a disturbing recovery of movements of dancehall. Finally, to make a lot of noise for nothing. Because enough to take more than the nth broadcasting of violence ? Certainly not a confrontation, to see the reception and consensus from the public. And the issue of domination in all of this ?