Wed, Apr 03, 2013 - Page 11 News List

The Weekender: Earthly delights and a sometimes riotous Spring Riot

It was a great weekend for dance lovers, with Tanztheater Wuppertal Pina Bausch performing ‘Le Sacre du Princtemps,’ and Cloudgate 2 astonishing audiences with ‘Blue Hour’

By Diane Baker  /  Staff reporter

Blue Hour by Cheng Tseng-lung.

Photo courtesy of LCH

Tickets for Tanztheater Wuppertal Pina Bausch, at the National Theater for a four-day run that began last Thursday as part of this year’s Taiwan International Festival of Arts, were sold out by the end of January. The troupe, making its fifth visit to Taiwan, has always been popular here, but even for them the tickets went exceptionally fast.

Taipei dance lovers were especially eager to see the show because it paired Bausch’s Cafe Muller (1978) with Le Sacre du Printemps (The Rite of Spring), which premiered in 1975. Both are considered early Bausch masterpieces.

The weekend’s performances showed that the company is still going strong four years after Bausch’s death under the joint leadership of dancer/administrator Dominique Mercy and Robert Sturm. However, they also showed that not all of her work has aged well.

The stage was set for the 40-minute-long Cafe Muller when the audience entered the theater: a rather gloomy collection of tables and chairs spread across the stage, with mirrored panels along both sides and one in the back, and a revolving door in the back. The stage is so cluttered with tables and chairs there is almost no room for the six people who appear on it.

It is a melancholy work, the loneliness and longing in it heightened by the score — excerpts from Henry Purcell’s operas The Fairy Queen and Dido and Aeneas — with just six dancers: Helen Pikon, Nazareth Panadero, Michael Strecker, Jean-Laureant Sasportes, Mercy and alternating in the final role, Azusa Seyama (who performed on Saturday night) and Aida Vainieri.

The piece centers around two women, who appear to be sleepwalking, as they move in their own worlds on stage, disconnected from each other and the cafe setting. Sasportes’ main job is to clear room among the tables and chairs for Pikon and Seyama to move, something that becomes increasingly difficult as the piece goes on. The disconnect between genders was evidenced by Strecker manipulating Seyama and Mercy into an embrace, then placing Seyama in Mercy’s arms, from which she promptly falls, only for all three to repeat the motions again, again and again, faster and faster and faster.

The cast was able and willing, but at least for this reviewer, the spirit was weak — it was not only difficult to stay involved as the 40-minutes piece wore on, it was difficult to stay awake.

Much more engaging, almost viserally so, was Le Sacre du Printemps, set to the score of the same name by Igor Stravinsky. The tale of a maiden chosen by her tribe as a sacrifice, who dances herself to death, has been reworked, extrapolated and reinvented by choreographers in both ballet and modern dance since Vaslav Nijinsky first created it as a one-act ballet for the Ballet Russes in 1913. Bausch’s is one of the most powerful versions.

The crowded Cafe Muller set was replaced during the intermission, in full view of the audience, with a ground covering and layer of earth and that was it for the set. The dirt is kicked up, shuffled through and rolled upon by the 33 dancers, the women clad in thin, nude-toned slips and the men only in black pants. As the dance progresses, more of the dirt is transferred to the dancers’ sweaty bodies, reinforcing the primitiveness of the scene. The only dash of color is a red silken cloth, which the women recoil from, individually and as a group.

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