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Gustavo Gomes,

Felix Berning,
Ulysse Zangs
Dresden Frankfurt
Dance Company:
Metamorphers,
c. Jacopo Godani
(ph. R. Irace)

and future potential.


The first programme in-
cluded The Primate Trilogy,
a creation in three sections
and set to a score by Ulrich
Mller and Siegfried Rssert
who have been collaborating
closely with Godani for
years. Strong, expressive and
always intensely dynamic,
Godanis idiom can, without
hesitation, be described (to
use his own words) as
dancing dance, one that is
particularly suited to con-
structing ensembles, some-
what weaker albeit with
some beautiful passages
movements. when it comes to composing for a few danc-
In Meguri (Circular Movement) the Dresden Frankfurt Dance ers as they alternate with the group scenes. It
scenery is once again breathtakingly beau- is a homogenous oeuvre from the point of view
tiful: the dancers walk on a vast blue ex-
Company of style; however, it does not go beyond the
panse, similar to a lake, while the cream col- Forsythian achievements of the past twenty
oured wall at the back has fossil reliefs of years to which Godani forcefully claims to
marine life. It is within this context of deep Godani x 4 have contributed.
serenity that the eight dancers perform. The second programme, Metamorphers, to the
Meguri opens with Ushio Amagatsu him- Chor. Jacopo Godani: The Primate Trilogy String Quartet No. 4 by Bla Bartk played live
self in a solo which demonstrates, at its mus. 48nord (Ulrich Mller & Siegfried by the Kubus Quartett, was more varied. It
highest level, the art of astonishing with a Rssert); Metamorphers mus. Bla Bartk; presents ideas that are already different though
sole gesture. The whole body is animated Echoes from a Restless Soul mus. Maurice not quite innovative yet vis--vis the past,
by barely perceptible movement and con- Ravel; Postgenoma mus. 48nord; Moto Per- certainly and clearly more personal. Echoes from
trasting forces that are conveyed via facial petuo mus. 48nord a Restless Soul is a little overpowered by the
expression. Rome, Auditorium Parco della Musica, Festival beauty of Ravels music, played by pianist
The six sequences that follow all possess Equilibrio. Ruslan Bezbrozh, but nevertheless further re-
the same intensity because the gestural lexi- veals the choreographers compositional breadth.
con of the group dances is often reduced A company based at the Hellerau (Dresden, The big surprise is Postgenoma: a really
to arm movements, contortions on the ground Germany), subsidised by the Cities of Dres- lovely double duet that provides a glimpse of
or slow rotating. But one is mesmerised by den and Frankfurt, heir to the prestigious the possible direction in which Godanis idiom
the spiritual atmosphere created by Ushio Forsythe Dance Company (which the famous could develop. In this work finally, over and
Amagatsu who is also a great wizard of light- American choreographer decided to leave in beyond the (albeit) basic Forsythe template,
ing and is able to organise nature so as to 2015) and entrusted to an Italian choreogra- and over and beyond the amalgamation of classic
make it look perfect to us here. pher, Jacopo Godani, is of unique interest on ballet and Laban dynamics, we witness the
To appreciate the ritual we need to al- the contemporary ballet scene: a vibrant bridge emergence of moments of fusion between the
low ourselves to get involved in the show, between past and present, with a considerable dynamics of the idiom and the pure dynamic
otherwise it is all too easy (if one looks in potential of bearing on the future. liquidity of the execution/interpretation which
with detachment from the outside) to view A performance by the Dresden Frankfurt almost seems of Humphrey-Limn derivation.
the simplicity of movement and conviction Dance Company opened the new Festival Therefore, whether consciously or not, in the
of the dancers performing as being some- Equilibrio at Romes Parco della Musica. This direction of a further amalgamation and new
what grotesque. But very often it is the festival, no longer dedicated solely to new mixture of the various 19th-century legacies that
buy-in of the public that allows the voy- dance, has been entrusted to artistic director hinge on a conception of dance as the art of
age of the choreography to set sail. And Roger Salas who given it a thematic character, movement and not as a combination of forms.
that is precisely what the Sankai Juku pro- dedicating this years edition to Germany. Reproposing Moto Perpetuo (a section of the
pose each time and even if their shows al- The company proposed two different pro- Trilogy of the first programme) as the fi-
ways resemble the previous ones, they have grammes, both entirely by Godani: an inter- nale, accentuates the sensation that Godani has
the same effect as a religious ceremony has esting selection of works by this choreogra- convincingly mastered his idiom and is strongly
on devotees. pher (who is better known abroad than in his determined to use it freely and coherently.
Sonia Schoonejans native country) and which exemplify his legacy Donatella Bertozzi

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