Stylish,
sexy and slick - that is what best describes the choreography
in Singapore Dance Theatre's (SDT) latest production Impressions.
As its title aptly indicated, the triple bill presented "impressions"
of contemporary dance in different styles: Negro Y Blanco,
a tango-inspired piece by resident choreographer Jeffrey Tan; Seasons
of Buenos Aires by Argentinean Mauricio Wainrot; and Czech choreographer
Jirí Kylián's seminal Stamping Ground.
I especially liked the body-hugging costumes which accentuated the taut,
trained lines of the dancers.
Unfortunately, the programme was extremely demanding. The dancers had
to shift body postures, incorporate specific stylistic features, and
respond to a spectrum of emotional, musical and choreographic ideas.
Although they worked hard to achieve the intention of every piece, they
ultimately lacked the essence of what was required, either technically
or emotionally, to really bring out the nuances of the choreography.
The standout of the evening was Stamping Ground. Inspired
by Australian aboriginal dance and culture, this 1983 work is still
so innovative and fresh despite being 24 years old. Kylián sought
new inspiration for his choreography in Australia and set out to refresh
his dance vocabulary - the result is a sensual, animistic voyage
that explores relationships between people, the earth and their spirituality.
The dancers performed the difficult choreography credibly, though they
lacked the movement quality to pull it off. Kylián observed how
the indigenous Australian dancers were able to spring swiftly from the
ground, move rapidly and freeze suddenly; and use simple rhythms, including
clapping and body percussion. Such sharp, dynamic changes, however,
are difficult for contemporary dancers who are trained to move fluidly,
and the low centre of gravity required in this work is difficult to
sustain for classical dancers who are trained to be light on their feet.
The dancers also ran into difficulties in Seasons of Buenos Aires.
It required passion and an exaggerated use of the torso, but the grey-clad
dancers performed tentatively and looked tired instead. The finale of
the night faded away rather than ended in a bang.
The dancers performed better in Tan's new Negro Y Blanco,
which began well with photographic poses incorporating clean lines and
interesting forms that were highlighted by the black and white costumes.
Tan's concept and style played to the company's strengths
and is an attractive piece.
As the work progressed, however, it seemed to dissolve emotionally
and be sustained by a series of gimmicky images, rather than engagement
between the groups of dancers. For example, lowered on stage was a frame
representing a musical score, but the dancers moved around this in a
simplistic way, rather than utilising this set piece to enhance the
interest of the dance. Still, with some reworking, I believe it can
find a place in the company's repertoire.
Overall, the dancers showed some superb lines and danced credibly.
However, the choreography of each piece was so demanding that they still
fell short of expectations. Each work required unique qualities that
stretched the performers beyond their capabilities. The SDT is not alone
in facing this problem; it is a dilemma for any repertory dance company
that attempts to engage its audiences with a range of choreography.
Still, it was a bold programme and the SDT should be applauded for bringing
such world-class choreography to Singapore. |
"It was a bold programme and the SDT should be applauded for bringing
such world-class choreography to Singapore."
Credits
Stamping Ground
Choreography: Jiri Kylian
Staging: Roslyn Anderson
Music: Carlos Chavez
Negro Y Blanco
Choreography: Jeffrey Tan
Music: J. S. Bach, Mozart, Pergolesi, Satie.
Seasons of Buenos Aires
Choreography: Mauricio Wainrot
Music: Piazzolla
|
