|
|
|
|
|
Youngsters rise to the challenge
Deca Dance Batsheva Ensemble Birmingham
Hippodrome **** BATSHEVA
Ensemble
was founded more
20
years ago following the appointment of Ohad Naharin as Batsheva Dance
Company's Artistic Director
and Deca
Dance,
choreographed by
Naharin Nor has it
a particular tale to tell. Gaga, the innovative dance training method
developed by Naharin, is about listening to inner senses of weight,
rhythm, timing and flow thus giving dancers new keys to the language of
movement and dance. Arriving early, we were
treated to delightful solo dance as others meandered into the
auditorium, and this set us up for an evening of spectacle. We could not
help but be drawn into the exuberant and unique performance; passion and
high energy flows from these talented, young (18-23 years old) dancers
who are graduates from dance schools around the world. Naharin trained in music
throughout his youth and also works closely with design and sound teams
to create a powerful show. At times, the dancers move in unison and then
unexpectedly the tempo changes in quirky ways. This is exemplified in
the exerpt from Naharin's Virus in which the dancers, wearing
white bodysuits, in turn break out from the line in wild, yet controlled
expression and then become stilled.
The pieces ranged from robotic
and finely controlled ripples of movement through fluid and emotional
expression in Black Milk, to a hauntingly beautiful, sensual duet
(Mabul). Some might wish for more narrative or theme through the
work, but a performance such as this seems to draw threads together so
that a thrilling, cohesive whole emerges. Audience interaction was taken
to a joyful new level when the troupe - in shapeless black suits and
feodoras - selected partners from the audience (Zachacha).
This could have been an embarrassing interlude but instead made Gaga
feel inviting and delightfully accessible for all. In writing about this performance, it is impossible to ignore the impact of those who chose to exercise their right to demonstrate anti-Israeli feelings, both outside and inside the theatre. But maybe even more remarkable was the ability of these young people to keep focused and carry on with the job they had come to do – to share their art. In this they surely succeeded.
The intensity of the final piece in which the ensemble arch and create
shapes and waves to express the thin line between panic, fatigue and
madness is simply astonishing. Memorable, thought-provoking and spectacular, this is one show I won't forget in a hurry. To 14-11-12. Laura Ginesi
|
|
|
|
