Nureyev Triple Bill
Posted 10 April 2003 - 01:20 AM
Posted 10 April 2003 - 09:24 AM
While the individual items were danced, a large screen simultaneously showed clumsily edited images of Nureyev in performance, in studio and in interview. So Guillem/Hilaire in a pdd from In the Middle had to compete with slo-mo'd film of Bayadere, while Kobborg/Cojocaru in a pdd from La Syphide had to compete with Nureyev in Don Q etc. etc.
Multimedia has its place: but its use here was artless and witless - just an unbelievably awful bricolage, with no attempt at synchonicity or dialogue with the live performance, but, instead, completely disrupting it. I'm usually temperate enough about an evening at the Opera House, even the not-so-good ones, but this programme really offended me.
Posted 10 April 2003 - 01:20 PM
Posted 10 April 2003 - 01:44 PM
Posted 10 April 2003 - 03:49 PM
"There is a rule in the theatre: audiences can only look at one thing at a time. (Conjurors know this: watch one distracting hand, and you don't see what the other is up to.) Put words on a screen on stage, and we will obligingly try and read them. Play film, and we will watch it."
I wanted and tried hard to see Guillem and Hilaire in "In the Middle..." but Nureyev was reigning on the screen - and he won WITH EASE!
Posted 10 April 2003 - 07:02 PM
Nureyev was reigning on the screen - and he won WITH EASE!
Thank you for that, coda -- maybe not so bad a tribute to Nureyev after all (although to have the filmed image of a dead man overshadow today's dancers was probably not the company's intention!)
Posted 10 April 2003 - 11:05 PM
Posted 11 April 2003 - 12:36 AM
Posted 11 April 2003 - 01:36 AM
Posted 11 April 2003 - 03:40 AM
Posted 11 April 2003 - 05:50 AM
I was quite distracted by the divertissements (or was it "diverted by the distractions" ? )as well. I was dying to see In the middle performed by Guillem and Hilaire after so many years and managed only to catch split images with my focus going all over the scene/screen, avid not to let anything go by. Rapidly I then chose to focus only on the dancers (reassured by the fact that most of the archives were taken from the INA and therefore accessible) but whatever the degree of concentration (mine was seriously put to test during the Sylphide as I did NOT wish to miss a single beat) things did get lost and onstage movements were eaten up by the giant–like Rudi reigning from the screen. The working title of the Forsythe morceau kept ringing in my ears : Impressing the Czar…
Screening the video installation during the interval would have certainly made it so much more “tangible”, were it an option. I remember a Sylvie Guillem evening at the Theatre des Champs Elysées some years ago where films were projected while she proceeded to change costumes and that made up nicely for the time. I had been actually looking forward to Françoise Ha Van Kern's footage, whose documentary on Guillem (incidentally on French telly next week) is wonderful. Pity too for the closing item, Surge, (urgh ! and say no more) as opportunities are getting more and more rare to see Hilaire dance in Paris.
Interesting evening nonetheless which also gave us offerings such as Apollo (birth and all), the 3rd act of Raymonda with a beaming Guillem, Kobborg’s exquisite James and that fleeting Kumakawa moment (was he there or on the other side and is he already gone ??? ) of sheer beauty…
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