It was much easier to understand the choreographer’s intentions in the context of this, the whole production than it was from the photocall.
This free performance, which will be performed in different churches around London was certainly a novel experience. Abrupt changes of motion, bodies and body parts appearing and disappearing, a wonderfully skewed symmetry in terms of both placement and individual moves kept the audience off-guard for the performance’s entire duration. The impression that the dancers were swimming was interspersed with others; that of strewn corpses, of emotionless androids, of statues and of athletic sculptures and of slowly drowning women. To this was added the sudden disconcerting feeling the dancers were watching us, turning the performance inside out momentarily as we became the watched and they the audience.
The difference between performance and photo call made me decide to start another theme in this blog; that of the difference between a photograph likely to be chosen by an editor to represent a performance and an image that really does. I’ve given it a new category ‘representation perceptions’.
This image shows Noora Kela and Emily Absalom to the right (the hands belong to Avatara Ayuso) and Vanessa Abreli to the left. For more go here.
I also acted as model for a friends’ Hollywood Lighting workshop and rushed off in the middle to take portraits of Darcey Bussell for Dance Today, all of which you’ll hear more about at a later date.