The negative utopia becomes positive (….)
„If endurance is the only thing that we can win, then we are losers”: this optical and verbally progressive analysis raises questions about the loss of autonomy and motivation, about the why, about the what for, and about one’s own feelings in the process. But the dancers continue to move intensely, and the suggestion of a negative utopia becomes positive. Even though Sahru Huby shakes her head like a plastic dog in the back of a car and demonstrates how she transforms into things or a toy… But as the others take up the movement, something like a modern dance sequence is created that, projected like a kaleidoscope, overlaps at a high tempo. Music and movement are often an astonishing match, and developing dance forms from uncontrolled moments of failure is impressive. We know where the movement comes from. The authenticity is spectacularly emphasized when all dancers hold their unstable positions while a sports reporter produces his play-by-play and innumerous projections from the exterior world change in a matter of seconds. (…) In total: a strong appeal by Anna Konjetzky and her very alert and then exhausted dancers (in addition to Sahra Huby: Sooyeon Kim, Maxwell McCarthy, Quindell Orton and Robin Rohrmann) not to hold on to predetermined directives, but to be present in order to use a moment of decision autonomously.
Veröffentlicht am 23.12.2018, Tanznetz, Autor Karl-Peter Fürst
Link zum Artikel: https://www.tanznetz.de/blog/29032/die-negative-utopie-wird-positiv
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