Touch Compass
There was a film projected onto the back of the stage area in the opening of a debauched picnic. The ensuing exploration of balance and control was remarkable to watch. The honed ability to bear one’s own weight in whatever fashion, a demonstration of the body being used as an instrument quite separate to the one most of us use every day. There was a display of contorting to an insect, a crustacean, claws / pincers at the ready. Moving in and splaying out… was it threat? Was it show?
The bearing of another’s weight, how the two could meld into one, distinguishing between made difficult. The disintegration of reality, of the existence of body made malleable, the lines being blurred. Costuming of the two dancers was appropriate and contributed to the fantasy.
The second part of the show began with another film of a man readying for bed. As he fell into dream, shadows of ghostly arms beckoned, drawing him from one consciousness to the next.
All the members of the cast were introduced during this dance. The sylphs an ever present flow of weaving body currents. Here existed a blurring of the lines between need and use of the vehicles of ability. The dance was centralised around the figure of the ‘sleeping’ man. However the moments made tangible through the teaming of dissimilar couple or groups was at once cohesive and complementary. Each set of dancers found new ways to show their roles, individual or tandem
The tale progressed using swings and leaves of spinach to a place where the dream figures floated from the stage leaving the man to light his way with a torch to sleep once more.
There was a film projected onto the back of the stage area in the opening of a debauched picnic. The ensuing exploration of balance and control was remarkable to watch. The honed ability to bear one’s own weight in whatever fashion, a demonstration of the body being used as an instrument quite separate to the one most of us use every day. There was a display of contorting to an insect, a crustacean, claws / pincers at the ready. Moving in and splaying out… was it threat? Was it show?
The bearing of another’s weight, how the two could meld into one, distinguishing between made difficult. The disintegration of reality, of the existence of body made malleable, the lines being blurred. Costuming of the two dancers was appropriate and contributed to the fantasy.
The second part of the show began with another film of a man readying for bed. As he fell into dream, shadows of ghostly arms beckoned, drawing him from one consciousness to the next.
All the members of the cast were introduced during this dance. The sylphs an ever present flow of weaving body currents. Here existed a blurring of the lines between need and use of the vehicles of ability. The dance was centralised around the figure of the ‘sleeping’ man. However the moments made tangible through the teaming of dissimilar couple or groups was at once cohesive and complementary. Each set of dancers found new ways to show their roles, individual or tandem
The tale progressed using swings and leaves of spinach to a place where the dream figures floated from the stage leaving the man to light his way with a torch to sleep once more.
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