Review by Kate Gaul
Both productions are at Edinburgh Fringe as part of the Luxembourg Selection. The beauty of attending the Edinburgh Fringe Festival is sampling the range of works from cultures that we rarely if ever connect with. These two short dance works are both intriguing.
The Hidden Garden
“The Hidden Garden” blurs the lines between dance, physical theatre and visual art, this powerful and humour-filled solo, performed Jill Crovisier, explores human preoccupation with utility, power, control and perfection. Jill Crovisier’s choreography finds its inspiration within the world from its cultural, social and political aspect using a multidisciplinary practice. On a square of artificial grass, a woman appears holding a large bunch of flowers. She then moves through a series of scenarios that might take place outside – for example, a woman relaxes in sunglasses, at another time she brings herself to climax while rubbing herself on the grass (was she supposed to be a dog here, I don’t know), finally she becomes entwined with and under the grassy blanket. I think the piece is speaking to boundaries and the limits we place on and around ourselves. When, in fact, we need to become more engaged with our (natural?) surroundings. The work underneath the grassy carpet plus the combination of lighting and sound to support the movement created a surreal and almost absurdist world. There is no doubt that the movement is skilled, and it became hot sweaty work. Probably one for dance aficionados but at only 40 minutes in length was amusing and engaging.
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Negare
Another choreographic solo immerses us in a poetic universe of a character who plays with his identity, transforming it to align with his wishes, fears, and dreams. Luxembourg-based Z Art Company presents “Negare”, choreographed by Giovanni Zazzera. As the show begins, choreographer, Giovanni Zazzera, greets the audience in the foyer at C Venues. He introduces himself and engages in a brief description of the origins of the work. This piece is part of a triptych composed of three fragments: “Credere”, “Negare”, and (“di) sperare”. Each segment lasts between 25 to 45 minutes and can be performed individually or as a complete set. The works explore themes of human beliefs, self-perception, and the process of building identity.
We move into the room and take our seats.
The dancer, Alexandre Lipaux, is already in position, sitting on a box atop a piece of what looks like golden silk. He begins to eat a carrot. He then stuffs his shirt with pieces of rolled clothing that are placed around him on the floor. He became huge and then stands to dance. The performance is a mix of ballet and contemporary dance with elements of physical theatre. We are offered carrots to eat. He eventually swathes himself in the golden fabric, stands on the box and becomes a tall goddess fully masked. Lipaux dance style is beautiful, fluid and hypnotic.
“Negare” is Italian for "denial”. This piece speaks to who we are and how we present ourselves to the world. The blurb tells us “Negare” challenges the audience’s preconceptions, provokes thought about the impact of others’ perceptions, and delves deeply into the dynamics of denial and self-acceptance. It’s a thought-provoking work that encourages contemplation about the essence of individual and shared identity, showcased through the absurdity and authenticity of this character.” Mmm – it’s all beautifully metaphoric and over the 30 minutes duration in the peculiar space of this makeshift theatre it is magic.
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