Contemporary dance Reviews. Choose from the titles below in this column to display the corresponding review in the right column.

Berichte über zeitgenössischen Tanz. Wählen Sie aus den Titeln unten in dieser Spalte, um den Bericht in der rechten Spalte darzustellen.

Piotr Tomczyk & Shaked Dagan: R.S.V.P.

ZKM Young Choreographers Session Jan 2014

Aslizadyan/Oliveira: Two 4 One

Montpellier Dance Festival 2007

Christian Rizzo: B.c. Janvier 1545, Fontainebleau

Robin Orlin, We Must Eat our Suckers with our Wrappers on

Mathilde Monnier, Tempo 76

Raimund Hoghe, MEINWÄRTS

Trisha Brown: Three Works

Régine Chopinot, O.C.C.C.

Saburo Teshigawara: VACANT

Dominique Bagouet: Jours étranges & So schnell

Christian Spuck: The Children

vera | sander | art | connect TRESPASSING

Laureates: Africa/Indian Ocean

Eun Me Ahn: Please Hold My Hands

Lara Martelli: Solo mit Sahne

Akram Khan: Kaash

Junge Choreographen Folkwangschule 2003

Theater der Klänge: Modul|a|t|o|r|

Wim Vandekeybus: Blush



Mathilde Monnier, Tempo 76

Théâtre de Grammont, 2007-06-27

Author: Jochen Krölls

Silence. The stage is covered with real lawn. A black wall in the middle of the rear stage parallel to the rear wall. Consonance is the overall motto that nine dancers explore in numerous formations of Mathilde Monnier’s Tempo 76. Brilliant translation of various extracts of Györy Ligeti’s oeuvre into dance language. Amongst others, the famous metronome piece where Ligeti simultaneously sets off numerous metronomes which then get out of sync and produce interesting interferences. Anne-Theresa de Keersmaeker has also brilliantly put this into dance already. Monnier’s version is different, draws less on repetition and continuity, she involves all nine dancers and thus offers a different spectrum of experience. We can litterally observe the interferences visually in steps and pendulum movements.

Intelligently used space - formations of dancers in motion partially disappear behind the black stage wall and reappear in a different setting. Vivid sports instructions (at least this is how I perceived it) to (imaginary) children. First by a single dancer, then in unison (as consonance is the motto).  

Dance theatre at its best. Intense emotions uttered loud and impressively. Laughter, crying. All in unison. Breathtaking. Limit breaking; several times my limit between sadness and laughter is touched, perforated, and finally trespassed.

Rarely have I seen a performance that serves intellect, spirit and heart at the same time so intensely, sensitively and consequently. Rhythmic applause for minutes. Bravo.

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