Eye Candy
’Tis the season, so it would be churlish to pick holes in Christopher Hampson's glorious confection, adapted from Peter Darrell's iconic work.
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It's not often I feel left a little cold by beautiful male dancers moving in a space. But the first twenty minutes of Angelin Preljocaj's “MC 14/22 (Ceci est mon corps)” feels like a series of empty gesturesand takes a while to develop, presenting as it does a ritual cleansing to one side of the stage and to the other, dancers on trolleys, packaged and contorted like meat in containers. They seem to be merely posturing, and it's a little trite- bodies are ultimately meat: yes, we know. That's well-worn territory in dance.The whispering, too, is distracting. However, by the third scene, both the pace—and dancing—picks up and starts to flow beautifully.
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Scottish Ballet perform Crystal Pite’s “Emergence” at Edinburgh International Festival. Photograph by Andy Ross
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’Tis the season, so it would be churlish to pick holes in Christopher Hampson's glorious confection, adapted from Peter Darrell's iconic work.
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