Organs, teeth, flesh, bone. Part indestructible, part fallible. That the body is a marvellous tool none would deny. All this and more one knows and during a thirteen-day festival expects to see in someway put to the test. The body and its limits. The body and its brilliant workings. It can bend. It can turn into liquid silk. It can roll and it can convulse. It can operate as if possessed. Faces can be blank. They can be expressive. Fun can be poked, and the mirror proves always a fascination. Literally, in the sense of Anouk van Dijk’s new work for Chunky Move, “247 Days” (premiered as part of Dance Massive 2013 at the Malthouse), in which dancers engage with their reflections. And less literally, in the sense of the dancers in many of the performances I have seen as part of the festival, reflecting something of ourselves, our thoughts, hopes, worries, and dreams. They serve as a canvas for us to explore our own ideas about why it is we are here and what it is we do with this time allotted us. Stephanie Lake’s work “DUAL” reflects and reveals with its ‘choreographic puzzle that fuses jagged yet slippery pieces’ (Stephanie Lake, artistic notes), and “dance for the time being—Southern Exposure” directed by Russell Dumas ‘explores audience empathy through the relationship between quotidian and the performative’ (Russell Dumas, artistic notes).
Chunky Move performing Anouk van Dijk's “247 Days.”
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continue Reading