Rosas and Anne Teresa De Keersmaeker, Rosas danst Rosas
Photo: Hermann Sorgeloos
Refreshing to see women dance on stage, although Anne Teresa had difficulties catching up with the others sometimes – but let’s cut her some slack, she’s nearly 50. The movement material, which is a true discovery in relation to time/timing, was performed with such resoluteness that it kept me on the edge of my seat most of the time. These women were powerful and sexy. Apparently, what kind of inspired this minimalist, coquettish work back in the 80ies, was the aftereffects of the wild phases of drunken parties. Teresa didn’t say that, but someone else did.
Maguy Marin / CCN Rillieux-la-Pape, May B
Photo: Claude Bricage
A theatrical, almost mimetic piece of work about human beings being and behaving (or not behaving), if that makes any sense whatsoever. The characters, each so different in every little detail, were striking and somehow unusual, although referring to all kinds of recognisable stereotypes. The rhythm of the piece was (both physically and metaphorically) monotonous yet not unchanging or colourless at all.
Delgado Fuchs, Manteau Long En Laine Marine Porte Sur Un Pull A Encolure Detendre Avec Un Pantalon Peau De Peche Et Des Chaussures Pointues En Nubuk Rouge
Photo: Sophie Ballmer
A crazy title for the sake of being crazy. I put it in Google Translate and what I got was: Long Wool Coat In On A Marine Gate Pull A relax with a neck Peau De Peche pants and shoes pointed Nubuk Rouge. Still doesn’t make sense. Not supposed to, I guess.
The piece: sort of a pastiche. A few people in the crowd were laughing almost hysterically – quite probably because they knew the performers. These kinds of insubstantial jokes, parodies, light comments on dance clichés etc. etc. have the opposite effect on me, unless precise enough to really hit the spot, otherwise it becomes a banality. In the end they proposed ‘that we all now go for a drink’ (which we then did). I’m sure the whole thing was just a cheap trick to get people to spend money in the bar. Damn capitalists.
Maguy Marin / CCN Rillieux-la-Pape, Umwelt
Photo: Christian Ganet
The dense soundscape, which was produced by a single string slowly dragged over three electric guitars, went hand in hand with the windy and sometimes cloudy set design, which surrounded the performers who again and again appeared in between standing mirrors. To begin with the characters and their choreographed movements in unison represented stereotypes, just stereotypes. Initially very unsatisfying – obviously. But further in, it became clear that they were representing more than that: they were representing the general routines of life, they were repeating themselves like we are repeating ourselves, they were putting life as it is on display – for us to see, for us to face. The changes were subtle, but they were there – exact and poignantly executed. Sounds like an annoying cliché of a reminder of the passing of time. But it wasn’t. It was too dry and unpretentious. Instead it seemed like a fact of life. Of course, half of the audience left the building. It was the last time this piece was to be performed.
Jennifer Lacey & Antonija Livingstone, Culture and Administration
Photo: Daniel Davidson
Disappointingly short – I wanted more, much more from them. Can’t really explain what it was about or what it had to do with culture and administration, because I’m not sure I understood anything at all. But it made me really happy. The constantly changing set seemed to suggest some sort of savanna with flamingos dancing around (Jennifer and Antonija), until Antonija told a dirty joke and they made “organs” out of green pieces of cloth, followed by some beautiful bell-ringing and then they transformed into a centaur, before, finally, they sat down at a table and sang a catchy tune… while making bombs? Uh, really not sure about this piece. But it was very special.
