Inspired by Wim Wenders 1987 film, Wings of Desire, Alas
revolves around the plight of Damiel, the angel who longs to join the
world of the living, where mortals breathe, feel and touch. Nacho
Duato, artistic director of Spain’s Compania Nacional de Danza, plays
the anguished Damiel and also choreographs this emotionally-charged
work. Duato, who has led this company since 1990, is renowned for his
ability to create “supple liquid movement” utilising the entirety of
the body. This is certainly evident in this production where dancers
seamlessly weave in and out, around and through each other’s bodies,
even using their elbows and knees. The company, who has been through
significant phases in its history in developing its own unique style,
has been able to reach its pinnacle with Duato’s vision and profound
imagination. Though all trained in the disciplines of ballet, the
dancers allow themselves to enter other realms where classical
traditions are upturned, distorted and fused with other styles.
Alas
is also a collaboration with Slovenian theatre director, Tomaz Pandur,
who with Duato, also designed the minimalist set featuring a tower-like
structure with an internal scaffolding in which the dancers climb and
balance on. This internal framework is covered by a surface which in
different lighting set-up’s, is thin enough to reveal the silhouettes
inside, but solid enough to act as a screen in which to project words
and images. The tower also grounds the set in its magnitude and
emanates an ethereal quality with its luminous white light.
Featuring
direct excerpts from Wenders’ philosophical film, predominantly spoken
live by Duato in Spanish as he writhes and contorts, this is a very
dramatic piece of work. Duato becomes an actor as much as a dancer with
his eloquent reciting revealing as much of his character’s loneliness
and pain, as his tormented presence on stage. The fact that the
audience can hear his panting, the rustling of his clothes, and the
squeaking of his skin across the floor, adds to the organic feel of
this work.
Although based on a narrative, Alas
is not to be taken too literally, though it is naturally tempting when
confronted by transcripts on a screen directly above the stage. Here
too though, the monologue is more poetic and abstract than realistic.
Moods and emotions are nevertheless strongly evoked in the mesmerising
performances of the dancers, in particular, by Duato, coupled with the
dynamic musical score including Arvo Pärt’s meditative Fratres, Jules Massenet’s moving Elegie,
as well as original music by Spanish composers, Pedro Alcalde and
Sergio Callebro. The movement too reflects the tension in the decision
Damiel has to make between leaving his immortal spiritual world, to
become vulnerable and exposed to the ills of the physical world.
Segments also depict the beauty of the living; the sensuality, passion
and exhilaration of being alive, as well as the contradictions of human
behaviour. At one point, we see a group of couples holding a broadsheet
together. It is a newspaper one minute, then a bed sheet in which they
hide under, and then, a pillow in which the men disturbingly use to
muffle the faces of their female partners.
In
keeping with the raw nature of the piece, costumes by Angelina Atlagic
are simple and clean with predominantly nude-coloured fitted shorts for
men and loose slips for women, accentuating their supple and athletic
bodies. The only real flamboyance is a long tulle skirt used to evoke
tactility and lightness. The skirts are also used as another way of
defying ballet traditions, as the women wearing them tip themselves
upside down, and stick out their bare legs with feet flexed in
different directions like lifeless dolls.
The
piece de resistance is the water ballet in the closing act. Damiel, in
an act of cleansing, is bathed by a torrent of water directly above
him. He twists and turns his body to the cascade, exposing the palms of
his hands, his naked back and the soles of his feet. As the light
creeps up to reveal the rest of the stage, we realise that the entire
floor has become submerged in several inches of water. The dancers
glide in, their feet skidding through the water, creating waves and
ripples with their swirling motions. Reflections bounce on the ceiling
of the theatre creating a feeling of being underwater as the soundtrack
becomes dotted with soothing swishing sounds. It is the ultimate
marriage of choreography, music and design, transcending into a magical
experience. Though it is a scene of serenity, Duato depicts a rather
bleak demise for Damiel, who ultimately ends up alone, as the remaining
dancers, in a complete reverse from the opening, watch on from the
glowing tower like angels.
Sydney Festival presents Alas Compañía Nacional de Danza
Venue: Lyric Theatre Star City | 80 Pyrmont Street, Pyrmont Dates/Time: January 11 - 13 at 8.00pm Bookings: Ticketmaster 1300 723 038 | www.sydneyfestival.org.au
Short+Sweet Sydney 09: Week One
All-in-all, I must confess a creeping notion Short 'n' Sweet
might be riding its own wave a little too ambitiously. Is there a whiff
of veritable corporatisation about, in its quest... Read more
