European dance laboratory I.

Tanec Praha has introduced first European dance laboratory which offered three different dance performances. On Sunday and Monday 14 and 15 July, the audience had a chance to see Bulgarian, Greek and American-Icelandic art of dance.

The laboratory was opened by Kinesthetic Project (Bulgaria) with a piece Void, choreographed by Violeta Vitanova and Stanislav Genadiev. It was a truly great beginning. Three dancers: two men, one woman, naked upper-body, they worked with seemingly easy instrument, their bodies, and created a very attractive choreography with it. The authors worked with dynamics of movement, its repetition and transforming in space. Dancers played with the possibility of modification of the same or very similar dance unit. They were in continual mental contact and at the same time they radiated their need for physical contact. They moved together, against each other, diagonally and horizontally, at the same moment or a bit late. They were three and they were changing their competences as they liked. Sometimes they had the beginning in common, sometimes the ending, the space or the energy of movement, maybe also some kind of a story. Two men with dreadlocks and one pretty woman made Void an exciting choreography that blew the audience away by combining the simple with the difficult and by the balance of all elements.

Pinnochio by Kostas Tsioukas Company was a disapointment after Void. Although the music played live by a pianist, violoncellist and violinist was great, the dance of Pinnochio felt more like a banal caricature with strange atmosphere. The movement itself was often interesting, but in the overall context (costume, props, expression..) it felt embarassing. On the other hand, musicians who made dance themselves and their instruments were more natural and interesting to watch than Pinnochio himself. If the dancer hadn´t aimed only at cheap amusement of the audience, the show would have been a colourful mix of various arts. If the dancer had collaborated with music, as the musicians tried to collaborate with the dancer, it would have been a completely different show. It would not have been an unsuccessful paraphrase, but quite funny and nice piece of dance and music.

The evening of the first European dance laboratory ended cheerfully. The piece by Steinunn Ketilsdóttir and Brian Gerke entitled Love Always, Debbie and Susan told a typical lovestory, although in cynical and humorous way. She was a hysterical and lonely woman longing for love, man and sex and he was a flegmatic man, being partly a child and trying to help her, comforting her with whatever he can think of – hugs her, supports her, sings with her, tells her stories... Demanding dancing was alternated by spoken word and acting. The interprets were funny and brave – they improvised and let themselves be drawn by the power of the moment and the other´s reaction. They didn´t lack playfulness and joy from performing. Speaking of technique they were both very good, so in their piece everything could come together to create an amusing and interesting performance. Thanks to Debbie and Susan the audience could leave the theatre with smiles on their faces.

The evening was interesting and colourful. It presented work of three (four) countries, probably depending on each nation´s culture, mentality, courage and dance skills. Bulgaria left their long „classical“ era and tried an experiment that worked out well. Greece presented a puzzled performance, partly interesting for at least someone. Their southern humour and intention were more likely lost in the dark corners of the stage. American-Icelandic production showed courage and reminded us that we central Europeans have still a lot to learn to create with ease and humour while staying aloof.

Translation: Kristina Durczaková