 |
Three Atmospheric Studies The Forsythe Company Festival Theatre Until Thurs 16 March It begins; there are three movements to the piece, but it is not immediately clear what the purpose is, nor the outcome. Figures mill and swarm around a large square, and gradually what seemed random exercises in movement begin to be repeated. A pattern is emerging. William Forsythe's 'Three Atmospheric Studies' is unlike any contemporary dance I've seen, utilising attributes to build and support the structure of the dance through its path. When those supports are not used, or in place, the piece is reduced as a piece of dance, largely because, as a whole, 'Three Atmospheric Studies' is a narrative piece, with a quite clearly defined story to tell. Initially, this is unclear; as the storyline becomes obvious the purpose of the first movement is revealed. In the second movement a woman is trying to ascertain the whereabouts of her son, arrested by police whilst 'protecting' his sisters and their friends. You surmise the young man is Palestinian, the authorities possibly Israeli. By the third movement, the action has become aftermath: one man prowls the stage commenting on the carnage, charred televisions and a wedding ring with finger still through it are remarked upon. The soundscapes which accompany this piece, the dancers who are thrown and swatted around the stage with frightening energy make this the most effective and powerful of the three movements. The voiceover provides an irony, a verbal counterpoint as a strong American accent (a nice Southern boy, to be sure) explains why action was necessary, why some casualties must be expected, why America must fight for peace, why others must not fight that vision of peace. With some simple thoughts on the nature of dance, and through using powerful alternate media to reinforce his vision, Forsythe has created a simple masterpiece and a shocking sign of our times.  |
|
The latest issue available now!     |
All content copyright dB Magazine