TWO SHOWS: Nearby Buffalo and memory/such mich

From Anuschka von Oppen, who will be in Berlin shortly for a piece I (think I) saw some of in Brussels late last year and thought it was rather good.

Nearby Buffalo & memory /such mich

Nearby Buffalo

ein Tanzstück von Annuschka Von Oppen

Annuschka von Oppen untersucht in ihrem Tanzsolo “Nearby Buffalo” die Verbindung zwischen Bewusstsein und Unterbewusstsein. Der Körper wird erforscht, als hätte er keinen Namen, keine Erinnerung, als schwebe er wie ein Geist.

“Ich wache auf, in einem Garten, oder vielleicht ist es ein Feld, ich bin mir nicht sicher. Ich höre nur das Zirpen der Grillen und ich habe das Gefühl, dass ich hineingezogen werde in einen unermesslichen Raum, als sei dies der Anfang der Zeit.” AvO

Konzept / Tanz: Anuschka Von Oppen
Komposition: Jason Sweeney
Sounddesign: Eric Faes and Anuschka Von Oppen
Coproduktion: Pianofabriek Kunstenwerkplaats
unterstützt von: company SOIT
Residenzen: Pianofabriek, Bains Connective and the Norwegian Theatre Academy- Ostwald University

memory /such mich

ein Tanzstück von Katja Scholz / die elektroschuhe

Erinnere dich.
Es war hier. Du hast sie gesehen, oder deine Phantasie täuscht dich.
Bilder tauchen auf und verschwinden wieder.
Sie sind zu zweit, selbst wenn du sie nicht findest.
Ihre Farben verblassen.
Ist es nur ein Spiel? Ihr werdet verlieren, wenn Ihr Euch nicht erinnert.

Konzept / Tanz : Katja Scholz / die elektroschuhe
Sounddesign: Katja Scholz

Death by Glitter – Get a Leg Up

The third performance of Friday night, and barely making it in time while snacking on Thunfisch pizza on the tram from Sophiensaele to Dock 11. Unlike the previous two, Get a Leg Up has no programme notes that I can find, and unlike the other two also, it is neither a solo – nine dancers altogether – and is more concerned with velocity than conceptualism.

It took some scruffing around on Clint’s website to find out this piece is a combination of two older works, Side of Splendour and the duet Get a Leg Up, and that it muses on the Bazar de la Charité fire in Paris, 1897 which left some 120 women dead, though only a few men; “‘Le reste détala, non seulement ne sauvant personne, mais encore se frayant un passage dans la chair féminine, à coups de pieds, à coups de poings, à coups de talons, à coups de canne’ (‘The rest ran away, not only not saving anybody, but also pushing their way past female flesh, kicking, punching, pushing with their heels and sticks’)”.

Knowing this now, perhaps I can view the pile of black-clad bodies at the beginning in a different light, and the whole work itself. Last night though, with the unceasing cascade of bodies flung through the air, spinning and sliding across the floor accompanied by the electronic score of Patrick Blasa, I was reminded strongly of the hyper-kinetic ADT in Adelaide.

While much of the aerial and tumbling movement, often carried out in masses, pairs, trios and occasionally all nine dancers, bears a resemblance to the aesthetics of that company, other solos and duos had an uncannily Melbourne Chunky Move and Lucy Guerin feeling, collapsing body parts and joints, staccato shifts of weight and momentum, arms and hands slashing and shunting legs or the whole body against the floor, bodies and their articulations disjointed from thought or agency, almost disconcerting to see the movement culture I passed through in a city about as far from Berlin as possible make an eerie return in Dock 11.

Perhaps most impressive is this full-evening piece was slung together in a mere three weeks, and the often physically and mentally demanding choreography, allowing scant room for mistakes at the likely cost of a foot or limb in the face largely showed up as very well-rehearsed. Towards the end there was some signs of tiring, though equally the end, as in Suites with Rosalind Goldberg came to an almost trance-like state of intensity.

Of the nine, only Clint and Bérengère Valour are not costumed in black, and for much of the work remain together in a duo first begun as dragging each other diagonally across the stage from the upstage wall of lights. For much of the work also, they cling to the walls, climb into the high window frames and avoid the panic and frenzy below.

Below begins with one black-clad wraith wringing her arms and legs from their sockets. coming from the pile of bodies (burnt black? ghosts and the dead? I can only read this into it now, and without programme notes found much of the narrative content of the performance obtuse to the point of frustrating), to be joined by more in duos and singles as arms and legs rise vertically from the heap.

One with orange bob begins screeching, “Don’t touch me!” while the others glide into couples, looking pointedly at her while they do so, until her cries become, “Touch me!”, and she is met by one who gags her with her hand, restrains her and drags her off.

Again, with hindsight of reading the short notes, I look at some of this differently now, but discussed last night with Dy the particular heterosexuality of this scene and of Clint with Bérengère, wondering what I was supposed to infer by this. And even if it is a performance revolving around a historic catastrophe, besides the pertinent question of why choose this incident as the core of a piece, which I feel is not addressed, I wonder about the simplicity of displaying the obvious male-female coupling and its place in such a piece. I also wonder about displaying the tropes of BDSM, gagging, restraint, breath control, dominance and rough scenes, within such a context. What can appear when removed from its context as sexual violation could be exactly how she wished to be touched.

With this, often the movement felt similarly without self-awareness. At times gestures and movements seemed to come from the depths of Modern dance and Martha Graham, the transferral of psychoanalysis and the psyche onto bodily activity, then flitting into aerial and post-post-modern thrash, and in this work not finding in or giving to the means of communication a commensurate attention. As with ADT, the spectacle of the bodies and their capabilities becomes lost in the presentation of the performance.

I often though with ADT, particularly Held and Devolution, they were far more suited to being performed in the studio in rehearsal clothes, where the individuals could be clearly identified and weren’t lost beneath the behemoth of staging, that there was something intriguing and attractive in these works as investigations of pure movement. This applies for me also in Get a Leg Up in that I struggled to work out what it was about, obviously more than just pure movement, yet exactly what I wasn’t able to say. How would it look stripped of costume and taken to where the individuality of each performer is both taken to the fore and subordinated to more involved sense of performed character?

Dragged out through the back doors, bare windows to the outside letting in light and shadows, they gather at this periphery to watch, mute, not intervening. Later a return, into the most physically brutal spinning in the air and headlong across the floor, or equally intense in deep lunges, bodies torqued as if about to launch themselves, the tension and power in their bodies so focussed as if they could by strength of will alone bend themselves endlessly further. The dragging from the corner returns, now a memory also of one stumbling at speed while helplessly looking back, across the floor to collapse in a slide, and the pile of bodies also, into darkness and finishing.

Gallery

hadlichstraße… a cigarette dancing factory

I often muse on how dance takes me into peculiar, old, strange, uninhabited, alien places. Old cities are amassed with such edifices, fenced off usually, or only indirectly accessible, perhaps better to say neither a public space and so restricted, nor a private space and so open to whoever crosses the boundary.

These kind of places suffer eventually two fates, that of gentrification, and so excluding and pushing out whatever made them seductive in the first place, or demolished, and so remaining only in memory, or perhaps an unremarkable plaque. I do like that my life affords me the pleasure of trespassing upon their grounds, and maybe even playing there a little.

I’ve been taking class at Sasha Waltz the last couple of days, in a factory that has been re-imagined as a performance space. Across the Spree are several Fabriks, the one bordered by Schwarzer Kanal, others stretching the length of the river, as yet unclaimed except by punk squatters I can see from the fifth floor while warming up, their two dogs running in a joyous morning exuberance, them sitting in the shade of a large tree. I wonder how to find a way in to these buildings with their monstrous brick chimneys and air of immanent collapse.

I walked from there to Marameo, finding Daniel, Clint, then later we went north on the S-bahn to Pankow, and along Hadlichstaße, the empty remains of an industrial baron’s cigarette factory that may become the second home of Dock11. We enter from the side, and waiting for Paea, I go for a walk. I should have gone further, because each new corner, like cresting a hill or ridge takes me further into an unknown world. Instead I learn some movement of Daniel for a piece he’s making for Paea and Clint. Dance. Daniel’s dance.