by Swank Jewellers van Cleef & Arpels are the major expenses of contemporary dance. Her dance reflection festival breeds a large capacity in London in 2022, she returns with a further collection of work that stripes from grades to the leader.
The opening piece in the compact Lilian Baylis Studio by Sadlers Wells was derived from the French artist Christian Rizzo [Rating: two stars]Named after a Turkish proverb: ‘Sakınan Göze Çöp Batar or an over -protected eye always gets sand in. The 2012 solo on “Melancholy and Exile” can feel a slog as well as the title – the long 50 minutes begin with Kerem BEKEK, which is enthroned on a excited box with a hat and backpack.
He spells here in red letters and begins to build a feeling of at home. Eisebek leads icy movements through it swing back and forth, looks at his limbs as if they were strangers, slips under a table like a snail that settles into his shell. A gloomy children’s choir sounds late in the piece, who sing, according to teenager -spirit: “Here we are now, talk to us”, sounds uniquely sad.
I didn’t love Rizzo’s introverted play, but a festival should collect all types of voices.
Dance reflections include talents such as Pam Tanowitz and Jules Cunningham, the sexy animals of the (la) Horde and the visually arrested shows by Robyn Orlin (South African RiSchas) and Rachid Ouramdane (dance meets extreme sports). Serge Laurent, the curator, also draws a line back to the giants of modern dance, such as Genie’s George Balanchine and Merce Cunningham, on whose shoulders today’s shoulders stand.
Genius was also Trisha Brown, who made miracles made of everyday movements – they watch their dancers and think: I could do that (I mean, they couldn’t. It needs to be immense to look). Since Brown’s death in 2017, her New York Company has commissioned pieces to prevent their work. The French choreographer Noé Soulier proves an inspired soul mate in the double bill on Sadler’s main stage [Rating: five stars].
Brown’s radical early work occupied the streets and roofs in New York and even climbed the walls. She was a poet of the city, and Souliers not only accepts her toolkit deceptively simple movements in autumn (2023), but also on the intensive conviviality of her work, the dancers who were dressed in deep basic colors look happy to share their space.
Women with Sehnner, men with weight, they hold unlikely credit, fade on the floor and balance again. They twist and plunge, bloom and fold and care for their arms like Superman. It is fascinating. Browns Betuiler Working title (1985) has jazzy costumes and a score that moves from Wobsen keyboards to inpatient drums.
The movement is also a relaxed pleasure: sharp movements become softer, their edges smoothed through the groove; Large gestures are adapted in a shrug. Brown’s great dancers show us what body can do – and what they can do together. Each of them is their own very human festival.
