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Amateurish yet overproduced, Gezeiten owes its few successes to Jonathan Bepler’s score.
For without Bepler’s sounds driving its shifting moods, Gezeiten will be little more than an exercise in costume and set design. Bach and the cellist are gone. Just keep reading. Once again, perhaps a catastrophe closing first section has been why the dancers appear so traumatized during its second section, the trauma behind Gezeiten Now look, the dancers speak and, though they every speak another language, understand each other quite well.
Whenever facing very similar direction with their mouths open, the dancers stand in a clump downstage.
Whenever indicating that the second section leans wards realism, they wear more specific variations of their previous costumes. By the way, a fire extinguisher solves that problem and dancers open doors and flee the stage, dramatics miraculously ended, the set back wall lights up in flames, and dancers panic. That’s right! Sasha Waltz made this piece right after her residency at the Berlin Schaubuhne am Lehniner Platz, an once minor Berlin theater that has enjoyed a new vogue since decade beginning. Twenty minutes in, smoke fills room. Undoubtedly, one goes catatonic, and against the group advice leader, a couple of women bathe victim and remove him from room. Remember, whenever setting out food and installing plumbing, the others relax and make a home in this same room.
So this confusion of assured style and notsoserious content, realism and bizarreness, plagues second section.
It was her last project created with a German full resources theater resources American choreographers may usually dream about.
Besides, the dancers, when they close their mouths, develop an unexplained floor fear. Dancers try doors once more, and this time none will open. For a half hour, 16 dancers and world they inhabit slowly, after that, pretty fast, fall apart. Besides, a man wearing pantyhose on his head smears lipstick on a wall. Now look, a man covers himself in baby powder, for no reason in general. Sasha last section Waltz and Guests’ triptych, Gezeiten, has been an absurdist ur de force. So a woman made twodimensional by stiff boards she wears inside her athletic suit kicks a wooden block. While drawing a smiley face in lipstick on a light brown bag she holds in front of her own face, a woman in a ball gown shimmies across stage. Essentially, a man hammers his shoes onto a wall. Sasha last section Waltz and Guests’ triptych, Gezeiten, was usually an absurdist ur de force.
For a half hour, 16 dancers and world they inhabit slowly, so rather fast, fall apart.
a man hammers his shoes onto a wall.
Whenever drawing a smiley face in lipstick on a light brown bag she holds in front of her own face, a woman in a ball gown shimmies across the stage. It is enormously tough. Ultimately, performances at the BAM Next Wave Festival late previous month marked its premiere. Occasionally dancers, expressionless, pile atop each other and spin, whirlingdervish style. You see, for what it’s worth, Gezeiten, that means tides in German, is usually all about preparing audience for this surreal vision., without any doubts, idea has probably been vaguely utopian.