Dance, travel, otherwise we are lost.
车在吠，人在追。一样的装束，一样的欲望。人造的世界，只是为了满足人类对掌控的渴望。现实又何尝不是一样？一追再追。 欲望浇灌出的我们又渴望变得不一样，用玲琅满目的游戏装备量化个性和品味。然后，我们又在不一样中相互吸引分化，结帮拉派。没有帮派，何来冲突？没有冲突，何来掌控的满足？现实照进虚拟，重蹈覆辙。 社交媒体模糊了现实与虚拟，一指无缝切换。我们既是真身，又是那方寸间的另一个分身。不到一分钟的时间是微不足道的，但当(LA)HORDE把我们聚集整合，那何尝不是Philip Glass笔下重复动机的最佳呼应？我仿若置身百老汇，怀旧，喜悦。 每个时代都有内容。(LA)HORDE属于这个时代，并用他们的方式记录下了属于这个时代的内容。 《内容时代(Age of Content)》是(LA)HORDE为法国马赛国家芭蕾舞团打造的最新作品 。自2019年起接手舞团后，(LA)HORDE虽一直饱受争议，但的确让迟暮的舞团焕发生机，巡演不断。
8pm. Living room. Music, friends, drinks and food. Muffled thunder. I walked in the unlit bedroom and opened the window, smelling the gentle rain in which stood a black-clothed man. When watering the land with a hose, he encounters a dying octopus. After a bite, he retains it in a fish tank. He takes a …
Born in 1986, Marco da Silva Ferreira is a rising Portuguese choreographer on European stages. Prior to discovering street dance in his hometown Santa Maria da Feira at the age of 16, his main body practice came from professional swimming. He received a degree in physiotherapy before fully dedicating himself to dance, first as a dancer and …
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Alice a toujours été curieuse du mouvement du corps. A son adolescence, sa connaissance de la danse se limitait au , compagnie brésilienne de danse contemporaine. Introvertie et timide, Alice aimait explorer des mouvements et postures toute seule dans sa chambre. « Il ne s’agit pas du tout de danse» dit-elle. Elle n’a appris les …
Poursuivre la lecture de « Alice Ripoll – un regard, une posture – portrait de chorégraphe »
From (LA)HORDE’s takeover of the Théâtre de Chaillot to Nadia Vadori-Gauthier’s trio at the Musée d’Art Moderne of Paris, immersive performances have featured prominently this season in Paris. This is not a new form in the history of dance, but its dynamism is reaching new audiences today. The dance writer Hang Huang met the Italian …
Poursuivre la lecture de « Immersive for Whom? A Writer and Two Artists Discuss »
Dark space. Flashing lights. I can only see one tunnel, mysterious and futuristic. Suddenly, a montage cuts the long take shot: here and there, humans appear and disappear. In those sequences of running and falling, I feel the panic; it must be something severe. Everyone holds the last hope and human solidarity makes the situation …
Lights dim. The sounds of a metal punch and a ventilator unfold our imagination behind the curtain. Soon the stage discloses a ritualistic scene: a chair on top of a table forming an altar, black-clad Spanish choreographer Richard Mascherin powdering the centre to generate smoky air; another man in the shadows produces the sound partly sourced from …
Dear Marco, When I enter the Theater of Vanves in the south of Paris, I see a stage framed like an A4 paper, with a 90-degree folded header made of light panel. Indeed, it is a letter from you to “Dear N”, brightly illustrated on the header. You appear on stage, talking to us casually …
The duration of Eszter Salamon’s Monument 0.10 The Living Monument is indicated on the ticket: 2 hours. When the charcoal-black scene emerges from the darkness, I feel like somebody has slowed down my playback. I cannot measure the tempo but I know that a speed of 0.5x will double the duration. Will it turn into a crescendo?
演出票上清晰地注明着开演和结束时间，也就是说时长为两个小时。当黑衣黑景缓缓从全黑中浮现，似有人调慢了我的眼之所及。倍速无从可知，但0.5倍速意味着时长翻倍。会……渐快吗？ 很遗憾，没有。舞台陷入一种周期循环：服装布景单色统一，重复声响让人镇静，蒙面舞者们动作慢得小心。舞台上变化细微，如同万物生长般不易察觉。然而服装精美多变，隐喻重重，值得细品。更值得一提的是，服装均为回收再利用。 这时，两位猩红舞者唱起了悠扬的歌谣，歌声中孕育缠绕着的两个猩红生命。循环被打破，猩红之后亦再无暗色。鲜黄的站立雕塑试图拉船上岸，荧光橙的奇异生物警示全球变暖，金色立人俑晃动着璀璨的文明。 当14位舞者在白色中脱下面具时，让人动容。那一幕仿若天地初开，而如今的我们……《纪念建筑物0.10号——活着的记忆》整体冗长，但耐人寻味。算迷人还是枯燥？算装置还是编舞？算循序渐进还是自我重复？算自以为是还是野心过大？散场后，观众意见两极，世界依旧分歧。 编舞家埃斯特·萨拉蒙（Eszter Salamon）受邀为挪威国家当代舞团Carte Blanche编排了这部作品，主题延续她自2014年起关于纪念建筑物的思考。该作品继今年三月世界首演后于卑尔根十月国际舞蹈节（OKTOBERDANS 2022）再次展演。
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