Every year The Place hosts a festival for new choreographers and dancers to perform, develop and get feedback on their work. Each evening consists of a variety of three pieces and it is pot-luck as to what you get. This year, I look forward to seeing two more of Resolutions! shows throughout the time of the festival and am impressed by the show I have already seen.
Ishimoi
by Ishimwa presents: Niyizi
Ishimoi by Ishimwa starts his piece hidden
beneath a cloak, lying on the floor with a spotlight as the audience enters the
auditorium, immediately capturing everyone’s interest. For more than ten
minutes we listen to the babblings of Ishimoi in different languages, noises and
through quotes all relating to his identity; setting up the piece for a further
exploration of identity and how the events of his life have changed him. We did
not see his face for the majority of the piece, enhancing the idea and
confusion of his identity, but this idea was then abolished when we are we are
presented with videos. My main criticism was that the excessive use of film and
dialogue made the movements lose their meanings. We had already been given the
information but required a development. At one point the sound effects and
music created a catalyst for the movements, providing some interesting physical
theatre and displaying Ishimoi’s clear talent for dance. However, I felt the
piece needed a development since as a whole lacked the detail to have an impact
on the audience.
Anders
Duckworth presents: Projected
A fantasy is presented to the audience
next, with two characters emerging from another world. Anders Duckworth
choreographs an interesting piece that looks at the details of memories.
Through contrasting mechcanicalised movement and fluid, natural dance we
experience the change in the characters as they switch between being controlled
by seeing their memories or living their reality. Jenna Broad and Eleni
Papioannou confidently tackle this wacky concept providing swift comedic
moments interchanged with the more serious and poignant sections. The lighting
and projection enhances the concept of the piece, creating an obvious change in
sections and character for the audience and projecting the memories of these
two fantastical creatures on the back screen. I was impressed by this
enchanting, mystical piece but felt that a few details needed clearing up; I
spoke to numerous people who had no clue what was going on.
Suse
Tietjen presents: The End is Important in All Things
The final piece of the evening revolves
around the T. S. Eliot quote ‘What we
call the beginning is often the end. And to make an end is to make a beginning.
The end is where we start from.’ We are presented with three relationships
and how they are created and destructed. By cross- cutting between different
stages, the audience focus on the contrasts in relationships; the distorted way
love makes you feel portrayed by the low, twisted movements and manic movements
showing panic when something goes wrong. Cleverly, the thoughts of each
character remain focused in the bows at the end of the piece, leaving the
audience with a lot to think about. The choreography by Suse Tietjen was
interesting but didn’t entirely grip me, nor fulfill the potential of Amy
Louise Cartwright, Joshua Gill, Lucie Gleeson, Ingrid Hatleskog, Erica Moshman
and Kurt Nagy. Despite my own disappointment of the choreography, with a few
tweaks or exploration of just one idea, I can see this piece being a hit in the
future.
Performance on Thursday 8th January 2015.
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