Posedlost, or a Different Take on Bournonville

Peter Høeg’s short story “Hommage a Bournonville” was adapted for the stage by Peter Serge Butko (adaptation, director, stage design). In his version, the story as told by Jakob (Martin Hofmann) seamlessly fades in and out of its dance performance (Tatiana Vilhelmová, Petr Čadek). The audience thus witness the apparition of a unique, spirited dancer who swept away the world of Danish theatre of August Bournonville’s times and bewitched the young, inexperienced dancer Andreas. It is a coming-of-age story including a drastic, slightly horror-like finale but there’s no point spoiling the surprise here.

Alternating dramatic and dance sequences are framed by a descriptive back projection that often underestimates the intelligence of the audience and mostly serves as nothing but decoration or a gentle screen. Director Butko tends to reveal more (erotic scenes, shooting scenes) than is necessary, leads the audience by the hand and does not allow for own interpretation and imagination – the audience has no choice but to digest what has been served.

The project is questionable form the dance perspective as well. Nothing is left of the Bournonville technique, which in itself would not be a problem in a contemporary adaptation if choreographer Petr Čadek did not decide for a mix of academic classical technique, gymnastics and modern dance. A refreshing exception from his static posing and boring lifts interspersed by constant bourées was a tango sequence where one could tell Čadek knew what he was doing. Surprisingly, he made little use of the principles of and variations from ballroom dancing, an area where he is deservedly recognised as one of the best in this country. As a result, the project has suffered greatly despite the solid performance by Vilhelmová with her remarkably graceful arms.

The one good thing about Posedlost is the story itself whose meaning is much deeper than may seem at first glance. Philosophic dialogues about life, God and forgiveness between Jakob (Martin Hofmann) and Rumi (Luboš Veselý) and a monolog on the bleak youth of a nameless girl (Tatiana Vilhelmová) may be the only reasons to go and see the performance.

The author saw the performance in Ponec on April 21, 2009

Translation: Milena Rybková