The instant gratification and thrills of video games, the explosion-dependent filmmaking of current Hollywood blockbusters or the pyrotechnic-laden concerts of rock and pop stars often blind audiences to the satisfaction that comes with watching solidly assured performances by artists on stage, be it theater, music or dance.
Yet is was with quiet satisfaction that I left the Cloud Gate Theater in New Taipei City’s Tamsui District (淡水) last Saturday afternoon after seeing Cloud Gate 2’s (雲門 2) “Spring Riot World Premiere” (春鬥 2017世界首演) — having happily watched three well-crafted dances by three very different choreographers, well executed by the troupe’s oftimes overlooked, but terrific dancers.
The three were each unique, the only common elements being Liu Yen-ting’s (劉彥廷) masterful lighting, the use of silence and Yang Yu-teh’s (楊妤德) minimalist costumes.
Courtesy of Lee Chia-yeh
First up was Huang Huai-te’s (黃懷德) Bright (亮), set to Garini & Black Bull by Les Tambours du Bronx and Aleph by Emptyset.
It was bright, lively and uncomplicated. It begin with just one dancer, who was gradually joined by five more, moving around the stage to a strong percussive beat with the jerky moves that Huang used in Horde (暫時而已) two years ago, his first piece for the troupe.
Huang is well on his way to developing his own choreographic language.
Photo Courtesy of Lee Chia-yeh
Chen Yun-ju (陳韻如), the first female choreographer to work with the troupe in many years, gave us A Blue State of Mind (潛). It was a much softer piece than her Hell Groove (衝撞天堂) two years ago, though it began with a prolonged bout of almost wrestling between two female dancers, Chang Chin (張勤) and Huang Yung-huai (黃詠淮), who were basically ignored by the others. The dancers often appeared absorbed in their own worlds.
Set to Movement II and Movement III by Alessio Castellacci, a Berlin-based performer and sound composer, it includes a soliquey by Chen Li-ya (陳麗雅), though it was often difficult to make out what she was saying.
While Chen talked about the deep vastness of the sea and the soul as influences on the work, I did not make the connection, but it was still interesting to watch.
Photo Courtesy of Lee Chia-yeh
This year’s “Spring Riot” is the first time that Benson (Po-chen) Tsai’s (蔡博丞) has choreographed for the troupe, but hopefully it will not be the last. I liked his Whisper of the Eyes (瞳孔裡的灰牆), filled with whispering and hints of disconnection and danger, the most of the three dances.
Tsai said his work was inspired by two random knife attacks on the Taipei MRT system and a growing sense of chaos and fear in the world. That imagery came through the dancing, the highlight of which were the solos by Tsou Ying-lin (鄒瑩霖), a really lovely dancer — at least up until the end, when (spoiler alert) she lies crumpled on the floor, cut in half by a lowered sheer curtain.
Tsai’s works are strongly balletic, and it was nice to see the eight dancers get a chance to arch their feet and execute long extensions and graceful lifts.
Photo Courtesy of Lee Chia-yeh
Tsai has great taste in music and he did not disappoint with his selections of several Ezio Bosso compositions and Keaton Henson’s Healah Dancing.
There are still four more shows — one tomorrow night, two on Saturday and a matinee on Sunday — with seats left for tomorrow and Saturday night. Spring Riot World Premiere” is well worth the trip out to Tamsui.
Tickets are available at convenience stores, at the door or online at www.artsticket.com.tw.
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