Uus Tants ’13 ja nu_dnc.txt seminar II tekst

Teises seminaris uurisime arvustuse komponente ja analüütilisi vaatepunkti, millest lähtudes kogetavat-nähtavat lahata. Karl Saksa etendusest “The Drone of Monk Nestor” kirjutasin lavastuse üldist raami avades.

Different frames of a dance piece – outside and inside levels of meanings at Uus Tants 2013

The aim of this years festival was to demonstrate works that bear a strong mark of presence. While in some cases it was questionable whether the piece really filled this criteria in a sense of artistic intensity, performance “The Drone of Monk Nestor” qualified in its own unique way in different levels.

The performance was originally shown in a blackbox type of stage space and this time, when both the performer and the audience were brought together on a typical italian stage, I captured myself from sensing that the fourth dark wall behind me, which could have added some extra depth and tonality in the atmosphere, was missing. With or without blackbox, this performance communicated throughly and very expressively, grasping me fully into its intense and meditative frame of mind.
Concerning the framing of the performance, my personal opinion is that summing up first two days of festival, the choice of the art director on this piece is perhaps one the most accurate and reasoned ones. The general level of defining aspects of a dance piece like the building, stage space and wider context was perhaps not the most suitable for this concrete performance. On the other hand, in a variety of rather conceptual and performance-like works, it struck as a beautiful example of movement, choreography and dance centered piece, where other sign systems supported the message arising from the medium of human body.
While from the perspective of metalevel “The Drone of Monk Nestor” stated itself as an independent, extremely alive, right here-right now system, in subtextual aspect the performance itself acted like kind of a frame for a concrete period of history, combining elements from religion and folklore of a nation and ethnical group. The demonstrated image contained within its structure many different archaic symbols and textures of movement that were mixed into an interesting somatic whole stimulating my consciousness. Although I captured freedom in expression and choreography, thematic context set its limits in the aspect of interpretation and behaved as an overall frame for understanding.
In a microlevel, frame could have been found also in the lightning design, which set the performer in the middle of clear cut, symbolic shapes, for example at the beginning where the stage was encircled by four clear squares. Later on, communicating of strong marks through shapes continued, comprising the sound patterns and concrete frequencies.
Taking into consideration the length of the performance, it was just a sufficient time for me as a viewer to enter the semi-shamanistic trance kind of state that was flowing out from the inner world of the dancer and filled the theatre space. 50 minutes, seated in a chair, absorbing in a fully acknowledged performance with an image of a strong idea of the author did the work for me. I was present, thanks to the artist who was present. And the meaningfully marked visual and gestural images at both the beginning and end of the performance combined with great light and sound design formed the boundaries of this frame full of dance art.


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