Merce
Cunningham would have turned 100 in 2019, a centennial that’s seen institutions
around the world flock to commemorate the prodigious American choreographer. There
have been exhibitions, seminars, master classes and of course performances,
including the ambitious “Night of 100 Solos,” commissioned by the Merce
Cunningham Trust and featuring 75 artists dancing in tandem across three cities.
Link copied to clipboard
Performance
Compagnie Amala Dianor, CCN-Ballet de Lorraine: “Somewhere in the Middle of Infinity” / “For Four Walls” / “Sounddance”
Place
Linbury Theatre, London, UK, October 24, 2019
Words
Sara Veale
CCN-Ballet de Lorraine in Merce Cunningham's “Sounddance.” Photograph by Laurent Philippe
subscribe to the latest in dance
“Uncommonly intelligent, substantial coverage.”
Your weekly source for world-class dance reviews, interviews, articles, and more.
CCN-Ballet de
Lorraine recently shared two contributions at London’s Linbury Theatre as part
of “The Future Bursts In,” the closing programme of the 2019 Dance Umbrella festival.
“For Four Walls” is a new piece inspired by a long-lost ‘dance play,’ while “Sounddance”
revives a rapid-fire work from the ’70s. Cunningham created the latter after a
nine-week residency with the Paris Opera Ballet, defying the classical rigour
he’d encountered with fleet, thorny pivots that tumble off their axis. The piece
features a storming score from David Tudor and an ornate drapery that sweeps
the cast into its pleats.
The company’s
young dancers make a whirlwind entrance, shooting out of the curtain like
hornets from a hive. The choreography doesn’t unfold so much as explode, blasting
us with taut curves and bounding stag leaps. Motoring against a soundscape of
mechanical whirs, they take on a machine-like gait, bobbing on straight, splayed
legs. In the edgier sequences they’re beautiful androids firing off a quicksilver
waltz. The piece wavers, though, when the group scampers in unison, losing a
touch of its elegance.
In “For Four Walls,” Petter Jacobsson and Thomas Caley pay tribute to a theatrical number Cunningham created with John Cage in 1944. There’s a rigorous formalism at work in the tangled movement patterns here, and in the engrossing scale, which trades in both the grand and the intimate. Hulking mirrors multiply the cast into a tangled, unbridled legion. Performers spill in from the wings, flooding the stage with bodies real and reflected. To one side, wreathed in fading light, is Vanessa Wagner barking out notes in a mesmeric piano performance.
Despite its upright shapes and slick, muscular cascades, the dancing eschews ostentation: the dancers mostly face the mirrors, greeting us indirectly, and weave their combinations independent of each other. The reflection goes two ways, transmitting the audience’s image in large format upstage, drawing us into the work quite literally. Even the pianist’s domain is manipulated: at one point she exits the stage to make way for a haunting choral interlude. It’s highly abstract but never untethered—a striking tribute to a dancemaker who loved to play with the boundaries of space and time.
A third piece
rounds out this programme: “Somewhere in the Middle of Infinity” by the
Senegalese choreographer Amala Dianor, who performs in the work alongside Ladji
Koné and Pansun Kim. The trio seasons loose, informal textures with
high-throttle moves, slowing and quickening their rhythm to a roving
soundtrack. There are dashes of hip-hop swagger, jolting Afro-dance and even martial
arts as the dancers cast their bodies across various planes, striking multi-level
triptychs and dipping into unplumbed pockets of space.
Dianor is
especially expressive in a pulsing slide section where the dancers rock to a
heartbeat thrum, grabbing at the spaces before them. Another highlight sees the
group dole out high kicks and flinging leaps to a swelling electro track. There’s
a serene glow to their efforts, even when the contrasting styles don’t quite
meld.
Sara Veale
Sara Veale is a London-based writer and editor. She's written about dance for the Observer, the Spectator, DanceTabs, Auditorium Magazine, Exeunt and more. Her first book, Untamed: The Radical Women of Modern Dance, will be published in 2024.
All too often it seems the human memory is too short. History is easily forgotten and, in a week where Americans are still processing the results of the presidential election, it is hard not to feel like we are doomed to repeat ourselves.
Eyeballs, screaming crones, and bloody axes were projected on a scrim at the top of American Ballet Theater’s new production of “Crime and Punishment.” Not bad for Halloween programming! Yet, despite Isobel Waller-Bridge’s cinematic, pressure-cooker score—which frequently evoked escape room music—there was very little suspense in Helen Pickett and James Bonas’s new narrative full-length.
Antony Hamilton is on the move. When he answers my Zoom call, the world-renowned choreographer is at the airport about to board a flight to London. This isn't a vacation, though: the Australian native, who is also the artistic director and co-CEO of Chunky Move, a Victoria-based contemporary dance company, is traveling with the troupe on their latest Europe and U.K. tour.
Records are for keeping. A record of the past in permanent form, an account. An official report. The sum of past achievements. The best, most remarkable event of its kind, a world record, no less.
comments