Reflecting on what I have to be grateful for this Thanksgiving, being lucky enough to attend the Live Art shows is on the list. Along with the usual of course.
This time as the lights were fading I really had no idea how lucky I truly was. Before the show I was asked how long it would run and I said “give it a couple hours though,” I lamented, ” you really only need an hour, I find past that a choreographer has repeated their idea a few too many times”.
We chit chatted in the lobby and found out that the show would run an hour only.
“Haste donde…” asks How Far? Rather than how long? And the limits they stretched did reach beyond what my imagination could have contrived. The two dancers clad in simple cotton pants and tops were lit subtly. Their movement building over the 20 minute piece defied any sort of notion that these were two separate entities. The connection that it took to create sequential loops from one off centre movement to the next took an understanding of each other’s physiology right down to a cellular level. You could feel the connection so tangibly as you watched the two tangled with each other, diving falling and rolling as one organism.
The strength of the dancers was matched by their sensitivity, allowing them to carry each other through space, to the floor and around one another.
With one final fling through the air they landed to the floor their chests puffing so violently from the exertion of this type of contact dance that I found myself silently thanking them for risking their bodies to offer such an amazingly crafted work of physical art.
Simplicity of production is so well employed in the show that you immediately know where your attention is going and are never left to wonder where the apex lies.
The second half of the show was performed by 8 dancers with varied bodies, tall, small, compact long but their differences became their most important tool.
In a world that seems more and more divisive every day this work shows that with work the human race can truly unify and move forward.
At times playful, other times exerted, the performers moved through a 40 minute piece with grace and humility. Impressive contact dance bordered on acrobatic as the dancers threw themselves at one another with complete and utter trust. Clad in understated costuming with feminine lace details their strength was unmasked.
Even Fridman’s choice to have the dancers run in a circle together though simple had me tuned in to the rhythm created by their feet as they ran together.
As the show progressed it began to feel like a spiritual revolution. We were warned at the beginning of nudity, mist effect and intense strobe type lighting. The effect was ethereal. The light creating a prismatic layer through the scene slowly slicing the space on the horizontal plane fell in on the performers and then us the audience. A new way of bringing us into the performance. The light reset and fell down again, and again. The mist swirling, catching the light as it moved, gave the effect of lifting off in a plane above the clouds. The silouhette of nude dancers walking through the space coupled with live electronic guitar music performed by Danski-Idan Shimoni added purity and calm. My eyes were bulging from their sockets my mouth open and this overwhelming sense of warmth in my chest built inside for the sheer imagery of vulnerability and unity.
The dancers moved into the next section as they redressed and began to form incredible structures with the tensegrity of their diverse parts held together by weight, push and pull. Pulling off these feats was impressive enough, their attack at the end of their exhaustive performance demonstrated the dancers’ incredible athletics.
If you missed this show hop on a plane and catch their next stop on their North American tour. The program is important, enlightening; fantastically and elegantly powerful in its energy and physicality.