Teatro Malibran, Venice (Italy). As part of the Venice Dance Biennale. Theaterhaus Stuttgart Gauthier Dance: The Seven Sins. Choreography: Aszure Barton, Sidi Larbi Cherkaoui, Sharon Eyal, Marco Goecke, Marcos Morau, Hofesh Shechter, Sasha Waltz. Music: Craig Taborn, Alexandre Dai Castaing, Anne Müller, The Velvet Underground, Jesse Callaert, Juan Cristóbal Saavedra, Hofesh Shechter, Diego Noguera Berger. Artistic direction: Eric Gauthier. Ballet masters: Cesar Locsin, Luis Eduardo Sayago. Scenography: Marion Daszenies. Music and interludes: Victoria Hillestad & Julian Erhardt / [sic]-studios. Dancers: Bruna Andrade, Joaquin Angelucci, Nora Brown, Andrew Cummings, Anneleen Dedroog, Barbara Melo Freire, Luca Pannacci, Garazi Perez Oloriz, Jonathan Reimann, Mark Sampson, Gaetano Signorelli, Izabela Szylinska, Sidney Elizabeth Turtschi, Shawn Wu, Shori Yamamoto.
Italian premiere of The seven sins by the German company Gauthier Dance at the Teatro Malibran, as part of the Venice Dance Biennale, co-producer of the show. An unprecedented project rejecting seven deadly sins seen by seven international choreographers.
The Gautier danse company, founded by Éric Gauthier in Stuttgart against the dance theater, has existed for 14 years. He wanted to see the “bright side of contemporary dance”. Yet it is the darkness of the seven deadly sins that he leads us into on this show, in which each of the seven sins has been commissioned by an international choreographer.
Rather, exploration begins on a slippery slope. Unimaginatively, Sidi Larbi Cherkaoui misses the first sin, Avarice, with boring English lyrics and bland music. Dressed in pantsuits and suits, the group of dancers project the world of stinginess into that of business, with banknotes represented by scarves and printed scarves. We do not find the telluric talent of the Belgian choreographer, now artistic director of the Ballet du Grand Théâtre de Genève. shame !
For Laziness, young Canadian choreographer Aszure Barton makes a more sincere proposal in a style and music close to Mats Ek. He signs an intimate and moving duo for two men in black with a rubbery and defensible gesture in the decor.
In Spanish (or Slavic) fashion, Pride is embodied by five women in severe blue dresses and wreaths of hair on their heads. We find in the signature of Marcos Morau, choreographer from Barcelona, the style of La Veronal, an angular and stylized gesture danced in unison for a striking frieze.
By staging a rocker (Freddy Mercury) devoured by the heroine in his trademark solo on La Gourmandise, Marco Goecke, one of the two resident choreographers, signs a success. Shirtless and chained buttocks, the figure devours life by consuming itself at both ends.
With a rigorous and futuristic piece, Hofesh Schechter conjures up lust in slow motion and shows that he can step out of his comfort zone. He modulates the group of dancers like a magnetic mass that constantly reconstitutes itself. Powerful.
It’s a Shakespearian and very demonstrative rage that enlivens this eruptive and first-ever duet by Sasha Waltz. The two dancers, a man and a woman, let out angry cries of rage and are multiplied by a sound device present on the stage itself, which contributes to a form of sound spatialization. Lots of sound and fury in a form that fights for conviction.
Incense for the final female trio, with a fairly classic style that inspires jealousy for Sharon Eyal. Sideways glances at the neighbor of the Three Graces in white jerseys. The choreography unfolds, as usual, on half-pointes, half-bent legs and arms that are untied like tendrils. However, the result is less impressive than the great fauna performed this season by the Paris Opera Ballet.
The dancers of this solid company of contemporary creation slip effortlessly into these choreographic universes. A very varied and very successful program in which many requested choreographers intervened in unison.
Photo credit: © Jeannette Bak
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