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Hofesh Shechter

‘In Your Rooms’, ‘Uprising’

March 2007
London, The Place

by Carole Edrich



© Iwona & Jaros'aw Cielikowscy

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Now so well established that you can find the first act on U-Tube, Uprising draws no line between violence, antagonism, support or ardour. The set is austere, the music demands your attention and the performance is full of a stark, brutal sensitivity. Movements of mutual support and caring are subverted to violence before paired dancers split and new patterns demand our attention. The transitions between passion and aggression switch with such intense, testosterone-filled rapidity that it’s impossible to distinguish where one mood ends and another begins.

After the rigours of the first half In Your Rooms is softer on the psyche and more demanding of the intellect. Words interweave humour and perspective whilst following existential and philosophical themes. We hear speculation that the universe is a harmonious unit despite its chaotic appearance at the same time that dancers make movements that, while meaningless themselves create harmonious patterns with others. Then dancers reproduce images of repetitive routine and mindless mechanistic drudgery as we are told to act individually rather than ‘follow the leader’. When this happens and individuals break away, they appear lost and unable to decide where to go.

Theme and dancing develop in complexity. Repeating patterns became subtly distorted so it’s unclear whether dancers are following or leading. Barriers of light and sand are introduced and dancers investigate, respect or abuse them. In so doing zones of creative tension and chaotic fun are created between repetitive acts of attractive but mindless conformity.
 


Hofesh Shechter
© Iwona & Jaros'aw Cielikowscy


A large co-commissioned project, the programme promises that this choreography will develop throughout the year. There'll be more music at the Southbank Centre and additional dancers and yet more live music at Sadler’s Wells. Exciting rather than visceral, sensual or sexual, this production has been so well designed for the venue that it seems even the lights have been integrated into the act. The Place lends itself to raw, immediate, intimate performances while the other venues do not. It will be interesting to see how they evolve.


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