Photo: Rahi Rezvani
The choreographic writing group of the “Vladimir”, which circulates in the vicinity of four panels of wood, consists of many registers of dance ranging from multiple types of folk music and the dances of the social, and from similis “street dances”.
Three projects of choreographers Hofesh Shechter, Crystal Pite and Sol León & Paul Lightfoot, during respectively 30, 19 and 34 minutes, are presented in these days by the Nederlands dans Theater (NDT) at the Theatre Maisonneuve. The evening lasts, in reality, more of 2: 15 as two long intermissions are essential to changes of decorations, quite impressive, and are even more emphatic. The set is marked with, in point of force, a proposal of Crystal Pite, which is clearly visible in the batch.
Behind the heterogeneity of the evening, the artistic director of NDT explains lazily by the fact that “the forms of expression, although diverse, all related in some way to this mad world that we inhabit together,” three scriptures choreographic stand out : an inclination for the exotic in Hofesh Shechter, a real friction between language and movement in Crystal Pite, and a certain complacency in the face of the danced movement in Sol León & Paul Lightfoot.
In the entry, Vladimir of Hofesh Shechter seduced by his bill flattering. The choreographic writing group, which circulates in the vicinity of four panels of wood, consists of many registers of dance ranging from multiple types of folk music and the dances of the social, from similis street dances that we recognize by their codes, and not their essence.
It is clever in the combination of references, and it is also well executed by the dancers in any field who excel in the transition from one style to another. The whole appearance is that of catalog exotic effective, the image of a globalization of dance as no surprise to read as a Reader’s digest of the dance. Syncretism is not the thickness of a project.
If the decor of The Statement of Crytal Pite is big, at least, it makes sense. In the center stands a rectangular table topped with an enormous fireplace black whose hubris makes us look for the symbolism of a supervisory body rather than to the extractor hood. Beyond the décor, the interest lies in the research of a friction between language and movement that offer the four performers trying to communicate around this negotiating table.
The singular manner in which Crystal Pite overlaps the dance and the words makes one and the other as absurd as that funny. The humour application of distance and space. This dialogue works because it produces something other than a quest for meaning without pay in the caricature. No matter which one attaches to the meaning of what is said. What is important is that the possible dimensions created by this combination speak-dance, which is based on a relationship of musicality reciprocal movements to the words.
At the end of the Singular odyssey of Sol León & Paul Lightfoot shines by the megalomania of its decor — a sort of reproduction of the waiting room, art-deco Central Station of Basel — which leads to chatter. That is its only real strength, the choreography, offering a succession of ideas and effects, generating a report is very sympathetic to the movement, demonstrative, object, miming. A third proposal, where it’s expected that it’s something substantial in this waiting hall.
Vladimir / The Statement //Singular odyssey
The Nederlands Dans Theater. Choreography : Hofesh Schechter. / Choreography : Crystal Pite. // Choreography : Sol León & Paul Lightfoot. Until 14 march at the Théâtre Maisonneuve, 20-h.