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Review Journal, 11-7: Where Have You Been, Where are You Going?
Home by the Sea with Carolyn Carlson; Wading into the Water with Carlotta
By Paul Ben-Itzak
Copyright 2002 Paul Ben-Itzak
PARIS -- Works of connection
and of alienation, by dancer-choreographers at opposite ends of
the career, generational, and temperamental spectrum, bowed here
this week. At the Theatre de la Ville - Sarah Bernhardt Tuesday,
Carolyn Carlson, an early Alwin Nikolais dancer and former director
of the contemporary atelier of the Paris Opera Ballet, premiered
"Writings on the Water," to a live, commissioned score for piano
and 11 strings, written and conducted by Gavin Bryars. Last night
at the Theatre de la Bastille, Carlotta Sagna, longtime Belgium-based
collaborator and performer with Jan Lauwers and needcompany, gave
her first integral evening of choreography. Carlson's solo evoked
our original roots in the sea and our current in the earth, while
Sagna offered a duet whose content portrayed a near-despairing detachment,
but whose form displayed a refreshing detachment from props.
"When we dance," said
Nikolais, as cited by Carlson in Rosita Boisseau's program notes,
"we allow the spectators to retrieve memory." With her long eloquent
arms, melting and malleable torso, a face that remembers the sublime
and the tragic, and a long dress that obscures her feet but seems
planted in the earth, Carolyn Carlson summons memories that are
inchoate -- which is what dance is for, after all. (If it could
be expressed in words, there would be less need for a dance.) The
memories she swims in are written in the water, which we know not
just because the evening commences with Peter Knapp's waves projected
on the curtain (to a meloncholic musical prologue from Bryars),
but because of the measured way in which she traverses the stage.
("The anti-Parsons," I found myself writing. Dance is not just about
the body moving fast to music, it is about the body moving, in both
senses of the word.) She paints this histoire in liquid, too, spilling
some on the low table downstage left (another is upstage right),
and drawing a white calligraphy brush across the table, up over
her arm, and back over the table. Upstage right, a cylindrical cage
or prison or Tower of Joan looms or awaits.
The terms "timeless"
or "ageless" always seem a bit patronizing to me, as if to say,
"Well, she looks younger than she is." But with Carlson, these words
are apt: Only the chronology of her career and perhaps her tight
facial flesh would place her in about her fifties. But there
is no brittleness in her limbs, no retardation in her pace. She
is...unbound, creating lines and images that by-pass the cerebrum;
she is uncapturable by me, except perhaps to reflect that now I
think I understand a little bit of the personal performing effect
Martha Graham -- or Sarah Bernhardt, in the same theater -- had
on audiences. Like Graham, Carlson is telling an epochal story.
And like Graham with Louis Horst, in Gavin Bryars, she's found a
sympa cohort. And a great team has he, with Andrea Vigani, Jonathan
Guyannet, Sylvain Gilles, Alessandro D'Andrea, Stephane Dudermel,
Valerio Sannicandro, Alice Mura, Arnold Bretagne, Clara Zaoui, Guillaume
Arrignon, and Marie Asselin on strings, and himself on piano. Costume
is by Alberta Ferretti, lighting by Mikki Kunttu and Patrice Besombes,
and scenery by Michel Crivelli.
"Writings on the Water"
continues at the Theatre de la Ville - Sarah Bernhardt tonight through Saturday.
.... Like Carolyn Carlson, as a performer Carlotta Sagna draws on
an incredible charisma; I could watch her just standing on a stage,
occasionally scanning the audience. As a dancemaker, Sagna might
said to be on the other end of the experiential spectrum from Carlson.
And where Carlson no doubt, like other generations of Nikolais dancers
dating back to Murray Louis, learned a lot about constructing a
dance from her mentor, needcompany's Jan Lauwers seems to have left
Sagna alone to create the dance element of many of his works. (In
New York, "Morning Song," seen at the Brooklyn Academy of Music
in 1999.) In fact, in "Morning Song," the dance did not seem so
connected to the ribald theatrical action. With "A," premiered last
night at the Theatre de la Bastille, Sagna has now truly stepped
out on her own, creating her first integral evening of choreography.
"A" is a dance that,
I suspect, needs to be seen more than once if one is to figure out
what Sagna is about. On its surface, the movement, a sort of slacker
dance attack in which when the dancers aren't moving, they are slouched
(if not physically, then dispositionally), is not as gripping as
is Sagna as a performer. But afterwards, you realize that in this
first effort on her own, Sagna is -- in needcompany fashion -- fucking
with the form, or at least the form in the special effects-laden
fashion in which it is usually presented today.
"This is the blackout,"
announces the choreographer from up high in the lighting booth of
the black-box theater to begin the evening, for indeed "A" has only
one lighting cue. The lights -- most glaringly from two florescent
bulbs -- stay on for the ensuing 50 minutes, until an actual blackout
to signify the work's conclusion. Before that, after Sagna and her
two performers -- the (purposely) anxious Lisa Gunstone and the
boyish Antoine Effroy -- have discarded loose-fitting slacker clothes
in favor of black jackets, slacks, and boots or heels, Sagna strides
upstage center, sweeps her arms across the lip and explains, "This
is where we have the projections, and the follow-spot."
Action-wise, the evening
begins with a bare-chested, rust-chinned Effroy lolling about on
his side, to be discovered by a curious Gunstone, who interrupts
her observing only to dip into a cracker box. Further de-spectacle-izing
the spectacle is the aroma of chips chewed which wafts out into
the theater. Sagna strides down the aisle to join Gunstone in the
oggling and munching as the two muse on the man's biceps, how concrete
they are and whether he'd be concrete in bed too.
Throughout what follows,
Sagna explores a male-female relationship, only to remind us after
each episode that we're in a theater. Gunstone replays a day-after
discussion between partners emerging from a viscious argument; "It
wasn't intentional"; "You can't say something like that not intentionally;
it's as if you killed someone and then forgot because it 'wasn't
intentional.'" As she stands riveted to one place, her limbs and
then torsoe spasm out, her voice getting lower. After this emotive
solo, Effroy, who's been observing, claps and acclaims, "Bravo!
Beautiful, beautiful!" looking at the audience as if to say, "Don't
you agree?" She's just sort of puzzled by this acclaim, which Sagna
eventually joins. Acclaim for both will follow, in an extended faux
curtain call, complete with more fake blackouts and "lumieres!"
For his part, Effroy
soon announces to us that he's looking for a wife. Then he says,
well, actually, just someone to live with for five or six years
would be very nice. Well, really, a two-month affair would be quite
fine. Well then, how about just a drink after the show?
The densest dance section
eventually kicks in: As Sagna cues an electric guitar version of
the Gershwins' "Summertime," Effroy starts it out, and then Gunstone
feeds him the lyrics, all while he is lifting her, holding her upside
down, swinging and even twirling her. I liked the contrast here:
flat readings of lyrics to grappling, accelerating contact. But
the nature of this pas de deux I've seen too many times before:
a woman lays physical siege to a man while he, albeit catching and
otherwise supporting her, remains distracted, regarding mostly us
and not his partner. As a pedestrian I can't empathize with such
distraction; if I were entwined with a partner, if she were twisting
herself around me, I'd be paying attention. Perhaps Sagna is making
a point or at least an observation about alienation, describing
two people who just can't connect no matter their physical proximity.
But I found it hard to relate.
What I appreciate, though,
about Carlotta Sagna's first integral dance "A," is that it is so
stripped down. For mostly innocent reasons -- insecurity about whether
dance alone is enough to engage and hold an audience's attention
-- so many choreographers these days load their creations with extra-dance
elements: site-specific settings, fancy films, heady text, gimmicky
audience exchanges, and more. In this light, Sagna's achievement
here is not so much in what she has created, but how she has created
it; her approach. Perhaps she'll add more later, movement or extra-movement
wise. But she's made a brave beginning.
"A" continues at the
Theatre de la Bastille through Saturday. For more information, please
click here. The work tours to
Antwerp December 6-7, Caen February 19-20, and Villeneuve d'Ascq
March 21-22. It returns to Paris February 24, playiing at the Theatre
de la Cite Internationale.
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