Compagnia Aterballett
Now, we all know that BAM has some kick ass performances - especially as part of it's Next Wave Festival, but I was unprepared for the journey on which the Compagnia Aterballetto would take me last night when I attended the opening night performances of Les Noces and Petrushka.
Before the curtain even rises on Les Noces, the audience is flooded with the sound of metal 'chairs' being rocked against the stage in unison by their soon-to-be-revealed occupants. Immediately drawn into this hidden world, it's almost a shock to finally get to see the dancers seated frozen-faced along the wings as the curtain races towards the rafters.
I'll refrain from further description for fear of doing the work an injustice. By the end of the piece, however, I was thoroughly enjoying myself. Having given up on any attempts to follow a narrative, I was swept into the world of movement - of the surprises that the choreography and music held. The experience was similar to that of a feather gently touching a bare stomach. There is sensation. There is reaction. There is pleasure. But there are no good words to describe the feeling.
Petrushka shocked me by it's difference to the first piece. While the first dripped with restraint (which is part of what made it so beautiful), the second was unrestrained, exuberant, and sometimes (just sometimes) inexplicably creepy. As if their movements were fueled by their deepest desires, these dancers made it look way to easy to perform with such exacting technique. It was quite thrilling to watch.
Oh. And did I mention the principle male dancer for Petruska wears tight camouflage pants and a ripped up punk t-shirt? (droool.)
Normally, I would mention some of the particularly stunning dancers by name, however, I ditched my program before crashing the opening night reception with N. (Thanks, Adrian).
What surprised me most about these performances is that they stuck with me far after I had left the theater. I was touched by the passion with which the dancers embraced their roles ... embraced life, and I was inspired to re-evaluate my own 'roles' ... the ones that I have chosen to play. We'll see how that goes as time goes on, but the experience reminded me of how powerful (and purposeful) art can be.
My only criticism (there has to be one, doesn't there?) would be that the company is way too attractive for their own good.
From the press card:
Before the curtain even rises on Les Noces, the audience is flooded with the sound of metal 'chairs' being rocked against the stage in unison by their soon-to-be-revealed occupants. Immediately drawn into this hidden world, it's almost a shock to finally get to see the dancers seated frozen-faced along the wings as the curtain races towards the rafters.
I'll refrain from further description for fear of doing the work an injustice. By the end of the piece, however, I was thoroughly enjoying myself. Having given up on any attempts to follow a narrative, I was swept into the world of movement - of the surprises that the choreography and music held. The experience was similar to that of a feather gently touching a bare stomach. There is sensation. There is reaction. There is pleasure. But there are no good words to describe the feeling.
Petrushka shocked me by it's difference to the first piece. While the first dripped with restraint (which is part of what made it so beautiful), the second was unrestrained, exuberant, and sometimes (just sometimes) inexplicably creepy. As if their movements were fueled by their deepest desires, these dancers made it look way to easy to perform with such exacting technique. It was quite thrilling to watch.
Oh. And did I mention the principle male dancer for Petruska wears tight camouflage pants and a ripped up punk t-shirt? (droool.)
Normally, I would mention some of the particularly stunning dancers by name, however, I ditched my program before crashing the opening night reception with N. (Thanks, Adrian).
What surprised me most about these performances is that they stuck with me far after I had left the theater. I was touched by the passion with which the dancers embraced their roles ... embraced life, and I was inspired to re-evaluate my own 'roles' ... the ones that I have chosen to play. We'll see how that goes as time goes on, but the experience reminded me of how powerful (and purposeful) art can be.
My only criticism (there has to be one, doesn't there?) would be that the company is way too attractive for their own good.
From the press card:
Les Noces and Petrushka, two signature works of Diaghilev's Ballets Russes set to visionary scores by Stravinsky, are sensitively re-conceived by Mauro Bigonzetti, artistic director of Italy's astonishing Compagnia Aterballetto. Known for a repertory ranging from neoclassical to avant-garde to postmodern, the troupe moves between multiple genres with extraordinary ease and grace. These two works are the perfect progeny: proud of their parentage, yet unmistakably a part of the here and now.
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