But in the end the dancers leave the singers to their own devices and return to the other dancers, before a real crossover happens and the singer becomes an integral part of the movement…. But when a creator hasn’t had those opportunities before and does not know when he or she will get the chance again to enjoy those resources, there is a hunger to take one’s chance, to use everything.
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Now that I’m living in Bratislava, I thought I should go out to see the contemporary dance scene here.
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His show Unter dem Glassturz at Semper Depot garnered little critical praise while privately the Homunculus dancers were furious to see their talents wasted, complaining both about the action which involved a lot of standing around and lying on the floor and Bienter’s imperious manner (quite frankly standard practice in the ballet rehearsal rooms) and his refusal or inability to take advantage of their own invention and fantasy…. Selimov’s Oh it’s Vienna is the best piece of work I’ve seen from Homunculus – and while I only saw it in a rehearsal performance, I believe time will show Oh it’s Vienna to be one of the lasting works of contemporary Austrian dance.
Leave a CommentTo end up face down in a city part somewhere in France or Canada, my spine broken by a police boot but my soul intact, the light extinguishing altogether. Some would argue that there are successful directors who live from their art. To be honsest, for most well off directors make their money and spend their energy on television commercials, banal television or empty commercial film.
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two sides with the orchestra using a line along the side audience in the four cornersstranger pink linetortured movmenta cycle of movementone quieter than the othercoming and going from the audiencegreat group of dancersall different types (tall, short)attractive, properly groomed.
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What a difference a year can make! Olga Esina as Anna is a wonderful casting choice. Ms. Esina has a good part of the charm of the Tolstoi’s heroine.
2 CommentsThis fall I inscribed myself for the Tanzquartier Wien’s Augen für Tanz program.There was two historical lectures, a theoretical section, a dance workshop and now we come to the heart of darkness – two seminars on dance analysis.I was able to arrive early and meet the previously unknown to me Dr. Nicole Haitzinger before the seminar.
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One of the more wonderful dance performances I saw this year was in the open air in MuseumsQuartier on 4 May. After what has been a truly terrible season at TanzQuartierWien with close to nothing except conceptual choreography or over the hill performers, I was close to giving up on the season. It appeared the dance highlight of the year in 2005-2006 in Vienna was destined to be a restaging of John Cranko’s Eugene Onegin.
Happily the Tanz Company Gervasi pulled a rabbit out of the hat in May, using the entire inner courtyard of MuseumsQuartier in a stunning use of space and projection.
The piece began with a woman dancing alone in front of the Leopoldsmuseum, high above the courtyard. That was soon supplemented by a huge projection of Sabile on the wall of the Leopoldsmuseum.
Sabile Rasiti projected on Leopold Museum wall
Fifteen minutes later a whole troop of dancers rushed the middle of the MuseumsQuartier and layed out a whole dance floor made of cardboard paper. On that improvised surface, the Gervasi dancers made mad battles and duets and solos.
Preparing to rollout temporary dance floor
I had my camera with me and managed to catch a fair amount of the action. The lens was not too fast so many of the pictures are darker than I’d like and darker than it seemed to the naked eye but a fair amount of the excitement of the event is caught in these images.
