Just after I finished Lapinthrope, I took some time out to go to some shows and had planned to write some reviews.
Videodanse is one of the five or six largest dance film festivals in the world…. There are a dozen external broadcast monitors, as well as a projection room with three good quality video projectors all projecting the same thing.
One comes in black tie and enjoys complimentary champagne and hors d’oeuvres with the ballet. The dance on the programme was the baroque event of the Opèra de Paris season.
In the far back corner of the large courtyard…. Only six large transparent tubes hang from the ceiling.
To me the show seemed like straight provocation, exploitation of Lisbeth Gruwez and the audience, taking us to another level of dance – back to its earliest origins in earthy sexuality…. Not to have seen the show – for if you are not offended by the naked and sexual female human body, you will rarely see a more pure display – but that at the end of the path, Fabre leads us holding nothing but those wild impressions.
A darkened section of Vienna. Just off the ring but nothing but blackness and the massive wood and iron doors of old warehouses. A voice rises tormented and beautiful into the night. A futuristic baroque. It must be here.
You push the heavy wood door, peer inside. An almost black space. People wander randomly in the distance. It doesn’t look like a dance show at all. You enter and pass a small table where you give your credentials.
The voice sings insistently, beautifully fragmented.
Entering the hall one faces a bare enormous stagespace covered in a large square white cloth…. A long view from the backwall through three rooms to a window in the front.