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Olivier Dubois: Tragédie review – 18 naked dancers swarm the stage Olivier Dubois: Tragédie review – 18 naked dancers swarm the stage
(35 minutes later)
Olivier Dubois describes his 2012 work Tragédie as an exploration of the gulf between merely being human and embracing our full humanity. On paper, his ideas come dressed in the philosophy of Nietzsche and the history of Greek tragedy. On stage, however, his 18 dancers perform entirely naked.Olivier Dubois describes his 2012 work Tragédie as an exploration of the gulf between merely being human and embracing our full humanity. On paper, his ideas come dressed in the philosophy of Nietzsche and the history of Greek tragedy. On stage, however, his 18 dancers perform entirely naked.
During the first half hour, these men and women are reduced to bare essentials. They track the stage in a grid formation, their faces expressionless, their footfalls dictated by a relentless drum. Yet, however minimal their choreography, the dancers impress with their individuality. Their impact stems partly from their lack of fear or inhibition, partly from their rich variety of body type and shape. Even as our attention wanders from the movement's repetition, we are drawn into an odd physical intimacy with the dancers, with the heft and pigmentation of their bodies, their birth marks and body hair.During the first half hour, these men and women are reduced to bare essentials. They track the stage in a grid formation, their faces expressionless, their footfalls dictated by a relentless drum. Yet, however minimal their choreography, the dancers impress with their individuality. Their impact stems partly from their lack of fear or inhibition, partly from their rich variety of body type and shape. Even as our attention wanders from the movement's repetition, we are drawn into an odd physical intimacy with the dancers, with the heft and pigmentation of their bodies, their birth marks and body hair.
The work shifts gear when individuals start to deviate from the grid – a bent elbow, a shake of the head, a skipped beat. Even with such basic moves, it's interesting how rapidly the dancers acquire personalities and moods, how groups and allegiances form.The work shifts gear when individuals start to deviate from the grid – a bent elbow, a shake of the head, a skipped beat. Even with such basic moves, it's interesting how rapidly the dancers acquire personalities and moods, how groups and allegiances form.
At this point, Dubois seems close to saying something illuminating about how humanity evolves through language, gesture and civilisation. But it's a moment he misses.At this point, Dubois seems close to saying something illuminating about how humanity evolves through language, gesture and civilisation. But it's a moment he misses.
The basic problem is that the piece remains so doggedly wedded to an aesthetic of protracted repetition; our stamina has broken long before the dancers break into full-bodied moves. Even when they do, it is in a crude and tedious version of Dionysiac catharsis: a juddering, swarming, writhing, leaping assault driven by manic electronic sounds. The dancers are faultless, but they're as interesting to watch as a group of very stoned teenagers. The most thought-provoking moment is the curtain call, when they appear fully dressed – and we see them anew.The basic problem is that the piece remains so doggedly wedded to an aesthetic of protracted repetition; our stamina has broken long before the dancers break into full-bodied moves. Even when they do, it is in a crude and tedious version of Dionysiac catharsis: a juddering, swarming, writhing, leaping assault driven by manic electronic sounds. The dancers are faultless, but they're as interesting to watch as a group of very stoned teenagers. The most thought-provoking moment is the curtain call, when they appear fully dressed – and we see them anew.
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