As the final show of this summer’s ImPulstantz, Vienna was privileged to welcome the premiere of a new work by underrecognised but brilliant Elio Gervasi. One of the first choreographers to bring modern movement to Vienna, his improvisational influence spread wide. Gervasi, like many creative geniuses, is often a bit gruff. Strong movement is his native idiom not redundant words and empty promises. After blooming at the end of the nineties and start of the noughts, Gervasi’s company was one of the first dance companies to fall victim to the city of Vienna’s heavy arts cuts starting in about 2004. For several years, Gervasi worked in miniature with either principle muse Leonie Wahl or at most a quartet of dancers. Most of the others, including Homunculus are no longer here at all.

Dark introspective chamber performances are not the right medium of expression for Gervasi’s orchestral invention.

Continue reading Elio Gervasi’s Solo with Guests (Part Two) in Vienna’s Odeon Theatre at uncoy.

The stage is a wooden arena, with benches on all sides including one before the audience. Above the arena sits a drummer who immediately begins to beat a large skinned drum. Talented deep rhythms, slightly foreign to our ears.

A man in a blue martial arts costume stands in the center. Drift in various young men and women in combative poses. The fight begins.

Long bouts of shadow fighting eventually bring in some long legged blondes in the back to watch the combat (Marietta Kro, Lucia Patoprstá). The dojo atmosphere moves towards that of film noir. The long legged blondes end up in writhing embraces with bands our half naked fighters. Very sexy, moving us quickly towards B movies and Russ Meyer and Tarantino.

The two Blondes Marietta Kro Lucia Patoprsta

Group sex where one woman submits to multiple partners against her will appears to be a recurring them in Ulrich’s work.

Continue reading Rumi in Flammen: Jochen Ulrich at Landestheater Linz at uncoy.