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 Post subject: 30th June, 2005: Studio Tanca BB/Reggie Wilson/students
PostPosted: Fri Jul 01, 2005 8:38 am 
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Joined: Sun Oct 24, 1999 11:01 pm
Posts: 19975
Location: London, England; Tallinn, Estonia
Performances 30.06

Studio Tanca BB
"Wonders of Space"
(Slovakia)

Reggie Wilson
(USA)

student presentations:
Kalisz
(Poland)

Keave Mooney
(Canada),

Hofan Chau
(Hong Kong)


Last edited by Stuart Sweeney on Wed Jun 28, 2006 5:33 am, edited 1 time in total.

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PostPosted: Fri Jul 01, 2005 3:56 pm 
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Joined: Wed Jun 29, 2005 12:30 pm
Posts: 54
I’LL SHOW YOU WHAT I KNOW

Yesterday evening started in the Roundhouse with performences by dance students. You don’t expect much from beginners and not much was shown, in fact. We forgave technical mistakes, underdone movement, lost tempo, uncertainity instead of planned symetry – it’s obvious dance art requires years of intensive work. It was harder to forgive triteness and platitude of the danced narrations. I became extremely irritated by the last etude with girls dancing around a circle of flowers poured on the floor. Gamboling like maids from Jan Kochanowski’s (a famous Polish reneisance writer) idyll, with a wreath taken from one head and put on another, they reminded me times in school academies. Unfortunately, except for an educational context, they didn’t bring much to thursday’s evening (National Aftergraduate Studium of Culture Animators).

Equally banal, although a little bit less boring, was Canadian Keave Mooney’s performence. She certainly had technical ability, but seemed unconvinced by what she was doing. As a result, there was no expressive overlay to her skills and consequently no clean, individual voice. A good counterapoint and a chance for a breath for the tired audience was a chinese-japanese proposal of Hofan Chau and Licht Kamiya. Not trying to play the big art, with a wink and distance towards dance and themselves, they created funny variation about a plastic mug. Placed on the ear or nose, sometimes filled with water, another time put on the top of the head it turned out to be the only common ground for characters’ understanding, not very sophisticated but necesser canal for communication. Mug is trivial and inconspicuous. But what will happen when the entire sea of mugs floods the dancers?

The performance was titled Diamond Baby. In the programme notes we read that it is a baby living in us for our whole life that touches our joy and pain. Relating this metaphore to the choreographies shown yesterday, I can only dream about deriving more joy from the future works of these artists and less pain of some parts of my body while sitting for a long time.

author: Aneta Głowacka
translation: Magdalena Pietraś

Etudes created by beginning choreographers from the National Aftergraduate Studium of Culture Animators; Pasage, choreogr. Wojciech Mochniej, Diamon Baby, choreogr. Hofan Chau and Licht Kamiya.


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PostPosted: Sun Jul 03, 2005 6:49 am 
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Joined: Wed Jun 29, 2005 12:30 pm
Posts: 54
POKAŻĘ CI, CO UMIEM

Wczorajszy wieczór rozpoczął się w parowozowni od pokazów adeptów sztuki tanecznej. Od początkujących artystów nie oczekuje się wiele i w sumie niewiele się też wydarzyło. Wybaczaliśmy techniczne potknięcia, niedopracowanie ruchu, gubienie tempa, przypadkowość zamiast zamierzonej symetrii. Wiadomo, że sztuka tańca wymaga lat intensywnej pracy. Trudniej jednak było wybaczyć trywialność i powierzchowność snutych za pomocą tańca narracji. W stan krańcowej irytacji wprawiła mnie etiuda z dziewczętami tańczącymi wokół usypanego na ziemi wianka. Pląsające niczym panny z „Pieśni XII o sobótce” Kochanowskiego, w przekładanym z głowy na głowę wianku, przypomniały czasy szkolnych akademii, niestety, poza kontekstem edukacyjnym niewiele wnosząc w czwartkowy wieczór (Państwowe Pomaturalne Studium Animatorów Kultury).

Równie blado, choć ciut mniej nużąco wypadł występ Keave Mooney z Kanady. Bez wyrazu i przekonania do tego, co robi, artystka zaprezentowała techniczne umiejętności, nie wychodząc poza poziom zerowy. Szkoda, że zakrawającej na szkolne wprawki etiudzie nie nadała indywidualnego wyrazu. Dobrym kontrapunktem i przy okazji oddechem dla zmęczonego widza była chińsko-japońska propozycja Hofan Chau i Lichta Kamiyi. Nie siląc się na wielką sztukę, z przymrużeniem oka, z dystansem do tańca i siebie, stworzyli zabawną wariację na temat plastikowego kubka. Ten przyłożony do nosa albo do ucha, czasem wypełniony wodą albo umieszczony na czubku głowy, okazał się jedyną płaszczyzną kontaktu między postaciami, mało wyszukanym, choć niezbędnym kanałem porozumienia. Kubek to przedmiot dość trywialny i niepozorny. Co się jednak stanie, gdy tancerzy zaleje morze takich kubków?

Azjatyccy tancerze zatytułowali swój spektakl „Diamentowe dziecko”. W programie czytamy, że jest to dziecko, które będąc w nas całe życie, dotyka radości i bólu. Odnosząc tę metaforę do zaprezentowanych wczoraj choreografii, mogę tylko marzyć, że w przyszłości, oglądając prace prezentujących się artystów, będę czerpała więcej radości z ich twórczych dokonań, niż znosiła bólu związanego z nadwyrężeniem niektórych części ciała podczas żmudnego siedzenia.

Aneta Głowacka

Etiudy stworzone przez początkujących choreografów z Państwowego Pomaturalnego Studium Animatorów Kultury; „Pasaż”, choreogr. Wojciech Mochniej, „Diamentowe dziecko”, choreogr. Hofan Chau i Licht Kamiya


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PostPosted: Tue Jul 05, 2005 9:23 am 
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Joined: Wed Jun 29, 2005 12:30 pm
Posts: 54
THE GREAT BLINDMAN

Review of „Introduction” by Reggie Wilson

„The Great Blindman” was created in the period between world wars for radio theatre which was established then. Those broadcasts resulted in a much wider audience and delighted those who relish the literary word as the base of the performing arts. The same thing can be done with dance and Reggie Wilson’s „Introduction” proves it. Rhythm, which is typical for dance, is expressed by stamping, breathing and phrased words. Listening and yielding to it means knowing the story.

Wilson’s solo is based on an authentic history and is a homage to African slaves, forced to converse to Christianity and leave their drums behind. It explains how the artist’s vision was formed and is a delicious mixture of narration and demonstration. Most fascinating is Reggie’s method of performence. At the same time ordinary and ceremonial, Wilson is in touch with the audience, conducts applause as if it was an orchestra, gives his informal lecture and brings the house down. The story woven us is a personal journey based on his own Afro-American roots. When Wilson adds rhythmical steps and breath, the story takes off. His ability to break the rhythm and to interlace it with speach is extraordinary. Returning to the basic rhythm he softens his narration, uniting the whole story and leting it flow in one direction. Reggie’s characteristic breathing becomes more relaxed and his smile more saucy. In his journey of sound and imagination there is a Baptist subplot: „Still I’m not sure if they (the Baptists) come from Caribbean or straight from Africa” – he tells us and in a smart way marks Trinidad and Tobago on the map of his journey. Why? Because one of the Baptist groups joined African traditions with protestant influences. Infomation gathered during his ethnographic research was used as a source for the choreography, uniting African movement vocabulary with postmodern structures to form an original original movement language. There are moments when the rhythm increases and totally absorbs the performer, almost forcing Wilson to dance. In a climax we are in in the middle of Africa and it is here that Reggie ends the journey. Have we been in a night club, a church, on a Caribbean beach or in faraway Africa? In half an hour we have visited all these places.

author: Joanna Prycz
translation: Magdalena Pietraś


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