Mark Morris is the only living choreographer whose piece will be presented at the great new four-part ballet evening "b.40" at the Deutsche Oper am Rhein. "Pacific", created in 1995 for the San Francisco Ballet, is the opening of the program in front of three masterpieces of modern / postmodernism, the one for the dance unforgettable era: "Locus Trio" by Trisha Brown, "Night Wandering" by Merce Cunningham and, musically from the frame of the twentieth century, the "Offenbach Overtures" by Paul Taylor.
The Living Among the 2009 (Cunningham), 2017 (Brown), and 2018 (Taylor) Deceased is an election that honors the voter, Artistic Director Martin Schläpfer. For not only Morris is likely to be the unknown of the four in this country, he is in the dance world and the most popular among them. Brown, Cunningham and Taylor have never mixed an ounce of compromise in their work, Morris, however, often had a certain affinity to pop culture. However, "Pacific" lacks any pleasantries, though Lou Harrison's music, Dance, Rhapsody, Song, and Allegro from the trio for violin, violoncello, and piano, is more appealing to the ear than to avant-garde effort. In front of the sky-blue abstract stage prospect rush three men whose white, wide skirts sway dervishes worthily. The clothes of the later addition women are also white, also around their midst of the body accentuated a monochrome gradient like batik the waist, but in grass green. The dance is reminiscent of the modern age, again and again one looks at the circles forming men or the diagonal arms of larger formations and thinks of movements of Nijinsky. The solemnity of the gesture, the lowered heads and the legs raised to the side could also celebrate Martha Graham, the icon of American Modern Dance. "Pacific" thus creates a summery, day-bright mood celebrating the friendly nature of nature. The seriousness and the measuredness with which the simple gestures and uncomplicated steps are presented do not go back to dramatic motives, or at least they do not sound obvious.
Trisha Brown's graceful and sporty "Locus Trio", choreographed for the silence, treats the two women and the man equally as a dancer. All of them tune in to the rhythm of their own movement, divided with the other second-second precision. The three do not need a musical beat, breath and soles are already the music, as if to remember John Cage. Well, with one of his closest partners in crime, Robert Rauschenberg, the mathematical and poetic dance genius Brown worked closely together. "Locus Trio" could go one and a half hours, unfortunately it does not, it passes way too fast.
These beautifully stretched legs, those coolly outstretched hips, the communicative style with which the three dance – their eyes meet again and again in smiling agreement – with all of this and the sound of their dancing bare feet, you can not get enough. No one can be more contagious about concentrated activity than Feline van Dijken, Marjolaine Laurendeau and the very good Sonny Locsin. Diane Madden is responsible for the rehearsal, and given Brown's life in New York, even if she was only auditioning for a workshop, she was astounded by the world's best dancers how fantastic these three of the ballet on the Rhine can muster the necessary understatement.
Once more thrown over the pile
The Morris was amazing, but the Brown piece in that it was one without music, then falls down in the face of Merce Cunningham's "Night Wandering" the jaw. A duet from 1958, as great as any of the countless dream duos he created, just released from being surrounded by other no less intriguing couples. Here is still possible, which later Cunningham prevented with hearty laughter: the focus on two dancers. His pieces were always multicenter labyrinths of mind and perception, always drawing the short straw, if you wanted to absorb all kinesthetic happiness of the stage at the same time like a greedy gull. Did not work! Was impossible! And one saw Cunningham laugh, with his head slightly in the neck, Picasso's Pierrot into old age, a juggler of chance, a Verneiner not of sense like Mephisto, but of subjectivity.
So walk the pair, wander the brave Camille Andriot and her fieldplayer, quiet companion Michael Foster in fur vest and fur dress by Lapland, as the dance historian David Vaughan suspected in retrospect to the Stockholm premiere, Bo Nilsson's "movements, quantities and striking figures."
The classic bouncer then threw the image of American modernity once again over the pile: Paul Taylor's operetta congenial Offenbach joke full of ballet parodies, with a duel as the anecdotal climax of laughter. The Düsseldorfer Symphoniker under Patrick Francis Chestnut put the final touch to a musical and dance-like outstanding performance. So much America has to be.
(tagToTranslate) Merce Cunningham (t) Mark Morris (t) Paul Taylor (t) Trisha Brown (t) Martin Schläpfer (t) Lou Harrison (t) Martha Graham