The great curtain, the proscenium arch, literally impose a fourth wall to close the stage in this show works Luis Guerra, after all, like a TV screen. It is because of silver interior rectangle circumscribed by a black opaque bead, which deducts this function, but it also operates technically because the dancers act illuminated within this box, underlining the possibility of access to a parallel world that they embody.
This scenic device is ingenious and very effective. It facilitates the expression of a recurring component in the choreographer’s work – from another world -; reflects the inherent debugging this piece and allows interpret it freely as a representation of human and artificial intelligence of the century, with its mix of physical and virtual, promiscuous and risky but exciting and visually rich.
The first of the four dancers working in very fast pace, a common phrase made up of about twenty fragments – postures, gestures and movements – and with it will go through progressively always facing us, the left of the stage to right. Graphics of a vital signs monitor, bytes in continuous reorganization decoding information or employees of mass-production industry, these dancers are outstanding in their precision, linearity and attack to every detail. Are very firm bodies that produce a captivating minimal-expressionist strength with a beauty of the mechanical type, the faces and skin in sight humanize
Join mesmerizing lull of uninterrupted music -. That begins before the public come and continues until all leave the audience – is not obvious. It takes willingness to accept the invitation to latent contemplation in Haze , but the immersion in evoked fiction, that guides the formal harmony, can be rewarding.
The second section provides a state meditative contrasts absolutely with the energy coming back and frustrate, accordingly, any entertainment expectation installed on viewers. Feel the technological references by the presence of the primary colors of the screens – instead of leggings just and colorful, are now three bodies face covered watching us under the lights that dye: a red, a other green and blue. But the action of beings who seem powerless in a doomsday scenario of self-destruction, is starving and very slow.
We agree with this view of the dancers coming out of the screen and under a blinding light. Again arranged for the public, the four now are organized in a perpendicular line and move between physical locations of reverence, of vanity and of the question – one nothing strange behavior to seduction tics of media celebrities, but hardly contextualized by the previous blocks <. /> p>
The Haze has an interesting and well done alignment of materials with clear execution quality. However, it suffers from a less positive relationship with the implications of its title: the invitation to trance can become a nuisance and their frames of a fictional world not developed refer to a non-action with cloudy sense
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