Rus News Journal

Local revolution on pointes

Edward Loka`s Troupe has acted in Moscow
festival ballet

On a scene of MKhAT of a name Bitter within the limits of the international festival of modern dance DanceInversion the Canadian company La La La Human Steps has shown ballet Amelia directed by the head Edward Loka. At this performance reason and TATYANA`S feelings - KUZNETSOVOJ have entered the solvable conflict.
the Canadian troupe with the children`s name exists already almost quarter of the century - in 1980 under the name Lok - dancers it was based by studied less writer Edward Lok. The born linguist, at university it has replaced reference points: instead of speech structures began to study movement structures. The young scientist had completely not room mind - results of studies 22 - the summer author (by then it was taken by dance only four years) have appeared surprisingly scenic and temperamental. Having gone round all countries, except Russia, the choreographer in the spring of this year has been in absentia awarded in the Bolshoi theatre by award Benois de la danse.
Amelia (a premiere of 2002) - the performance named a proper name (wrote about it on May, 15th). In it 100 - minute ballet on devjateryh (phenomenal!) Executors are not present the coherent story though as an impulse to statement memoirs of the choreographer on two transvestites which it used to know in a youth have served. Installation solo, duets (man`s, female and mixed) and ensembles is shattered by video projections to a heraldic board falling from grid-irons - the screen. There live ballerinas change in the virtual doubles: the gutta-percha feet deformed by unusual foreshortenings carefully cross pointes, doll persons is disturbing peer into a hall glass blue eyes. And under the screen the small prototype of the computer monster leads the fragile human life. David Lang`s executed alive the bewitching music (a grand piano, a violin, a violoncello and a female vocal), accompanies lokovskoe travel from the braked cyberspace in a fever of a scenic reality.
in Amelias 50 - the summer choreographer, having accepted as a reality bisexuality of a human nature, investigates its every possible shades, without being tired to search female in women and man`s in men. The dancer at it owns pointes, competing to the ballerina in virtuosity. Dancers, it is usually dependent - front doors in duets, here considerably change a way of mutual relations with partners: they it is wilful descend from a foot displacing an axis of rotations; go into unexpected big rounds, forcing men to squat at the last minute not to be beaten steel balerinskoj a foot; on - muzhski navorachivajut double assemble in air - and to the partner it is necessary to catch the desperate lady at the floor.
it is made by Leksicheski amazingly: mad, almost inaudible an eye rate of movements and the fantastic small technics of feet based on group shock Traditional ekzersisa (every possible batteries, battus, raznonapravlennyh frappes, petits battements, besforsovyh pirouettes in all directions). Linguist Lok, studying structural features of only one section of abstract classical pases, opens in it the whole deposits of semantic expressiveness. These vzbryki, tremblings, uvorachivanija, tearing away, mutual pricks and blows look amazingly particularly: as if peeping in a keyhole for furious lovers. The effect of alienation of classics amplifies firm lokovskoj coordination of the case and hands - the old find of the choreographer wandering from performance in performance. Mad (but juvelirno verified) gesticulation reminds squabble of deaf-mutes: palms flash at lips, ears, eyes; hands a loop grasp a neck, are thrown for a back; the body is bent by a swallowing wave and beats from the party in the parties as a tree during a storm. Cold calculation of the researcher changes the academic speech ekzersisa in oshelomljajushche the actual language avoiding pathos that at philosophising that at love abuse.
this unique ballet is constructed on the conflict between means and the purpose: the technology becomes the performance maintenance, and the emotions caused by her force to forget about what ways reach effect of empathy. Suppressed by this division, the Moscow public applauded fiercely, but is short. XXI-st century ballet has appeared to it too hard.