FASTER
AUSTRALIAN BALLET
SYDNEY OPERA HOUSE APRIL 2017
Thrillingly danced this is a challenging , sleek and exciting
contemporary triple bill brought to us by
the Australian Ballet .The company are in top form for this programme
which explores elite athleticism, and the cost and triumph
of physical prowess .
Commissioned especially for the London Olympic
Games in 2012, David Bintley’s Faster which opened the triple
bill is a tribute to athletes of all disciplines, with dancers clearly
identified in fencing, swimming, running, and various other competitive sports
wear. In some ways it is perhaps similar to Champions,
another work blending dance and sport , which I saw as part of the Sydney
Festival earlier this year.
But Faster
was slightly disappointing and didn’t grab me. We are repeatedly shown the
burdens, the strain, and the celebrations behind the sports - aspects usually
hidden in dance. Yes, it was terrifically danced and some of the choreography
was extremely demanding but it left me emotionally cold. Balletomanes will
perhaps pick up references to Ashton’s Monotones
and Bourne’s Spitfire as well as
Tharp’s In The Upper Room. I did like
the witty synchronised swimming segment. During another particularly demanding
extremely vigorous section where the female ‘athletes’ are onstage in runners,
crop tops and biker shorts in a ‘race ‘, the music suddenly abruptly halts and
the dancers collapse and collectively pant -which ballet audiences usually
never see. Each duo, trio or small group were able to represent
the various Olympic sports showing how the body moves differently for each
sport ( fencing , boxing whatever ) – Bintley uses symbolic abstract movements
rather than ‘straight’ recreation. here is a tremendous Aerialist pas de deux with
seemingly almost impossible Macmillan like lifts and the marathon/race at the
end for the full company is most impressive.
Resident Choreographer Tim Harbour’s atmospheric
contribution Squander and Glory begins with a crash and images of ominous undulating black
birds.Michael Gordon’s sharp, astringent music – heavy bass and strings of his Weather One - is relentless and persistent . Harbour is
known for his rather unique and innovative choreographic methods – including
his preference of ‘bringing the movement to the music’ fully-shaped, instead of
allowing the movement to be enhanced ( – controlled ? -) by the music .
Squander
and Glory is loosely based on an essay by French philosopher
Georges Bataille, in which he theorizes that excess energy in our physical
bodies must unequivocally be used up …one way or another. For Harbour in this
case he has created directional changes (often favouring diagonals) and razor
sharp like movements highlighting the dancer’s incredible physical agility 14
dancers become 28 in a large mirrored backdrop (by Kelvin Ho) that creates
continual body doubles, but also reveals a large abstract triangular sculpture
behind, seemingly hovering in space – but we eventually discover that the
‘floating sculpture’ is cleverly suspended behind a semi-sheer reflective
screen. The houselights come up at one point and the audience sees itself
reflected in the mirror… rather unsettling .There is a hypnotic
cascade of the dancers at one point ,even more enhanced by the mirrored
projection. Harbour’s demanding choreography includes slo mo, rather feline
stretching , sometimes birdlike and at other points deep lunges, straight stretched arms and some robotic like
movements . A sensational male pas de deux is included. The circular end of the
work perhaps reminded me of Macmillan’s Rite
of Spring – or the collapse of energy after the dropping of an atom bomb?
Wayne
McGregor’s Infra is perhaps the most
understated work of the triple bill but it is also the most relentless and
powerful. Inspired by the London bombings of 2005 it is examines the theme of
language’s potential to shape our perceptions but also expresses the loneliness
and coldness of living in today’s computer driven self centred world.McGregor’s
clear and precise, incredibly demanding choreography establishes moments of
intimate connection that as suddenly dissolve .His sinewy choreography creates
great shapes in space and demands a very flexible spine and almost
bonelessness. His trademark post-modern complex style demands stretched
long-limbs in abstract, rather formal movement.Towards the end Julian Opie's hypnotic
repetition of walking figures on an LED screen above the dancers eventually
fade away which allows the dancers to dominate the stage.
Infra
is
about quiet interactions and the human intimacies created on stage yet there is
a great sense of being alone in a crowd .There
is rarely more than one pair of dancers on stage at any particular point - as
one pair enters, another leaves, or if they do share the stage ,they are
bleakly separated . After tiny moments of unity, whether linking through
tragedy or joy the return to isolation is even more touching. In this work it is
not just the physicality that is important, but rather that we become aware of
quiet stillness and softness, the dancers displaying vulnerability as well as ferociously
brilliant technique .
All three works demonstrate that athleticism
relies as much on technical control and restraint as muscular energy. The
triple bill takes us on an emotional journey from the flamboyant spectacle of
Faster to the bleakly powerful experience of Infra with amazing artistry and
grace.
Running time 2hrs 15 (roughly ) including 2 intervals
Faster runs at the Sydney Opera House 7-26 April 2017
FASTER
Choreography and Production: David Bintley Guest Repetiteur: Patricia Tierney Music: Matthew Hindson Design: Becs Andrews Lighting Design: Peter Mumford
Choreography and Production: David Bintley Guest Repetiteur: Patricia Tierney Music: Matthew Hindson Design: Becs Andrews Lighting Design: Peter Mumford
INFRA
Choreography: Wayne McGregor Music: Max Richter Set Design: Julian Opie Costume Design: Moritz Junge Lighting Design: Lucy Carter Sound Design: Chris Ekers
Choreography: Wayne McGregor Music: Max Richter Set Design: Julian Opie Costume Design: Moritz Junge Lighting Design: Lucy Carter Sound Design: Chris Ekers
SQUANDER AND GLORY
Choreography: Tim Harbour Music: Michael Gordon Set Design: Kelvin Ho Lighting Design: Benjamin Cisterne
Choreography: Tim Harbour Music: Michael Gordon Set Design: Kelvin Ho Lighting Design: Benjamin Cisterne
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