projecting power: a new dance work makes darkness visible
We do not have any difficulty with the mysteries and popular novels of the familiar outer space, but we will travel in absences, vacuums, intervals.
Japan has the concept of ma, referring to the space between the two structural parts, or the pause between the two events.
Jack Ma has a substance: it is not just something that has no other name.
Last month, in Barbican, London, choreographer and visual artist Darren Johnston combined the concept of horses with zero.
Point Energy-even the most perfect vacuum can be disturbed by short quantum fluctuations.
Developed in partnership with a group of skilled Japanese dancers for more than four years and performed in the cave-like electronic soundscape of Tim Hek, the zero point is intended for spiritual and scientific collisions.
This is a celebration of nothingness and rest.
The opening of the wall of zero is reminiscent of the first trembling chord of the Hecker breakthrough album \"Ravedeath\" 1972, and the audience is scorched by an almost unbearable light.
Rows of burning lanterns gradually moved in the dark, leaving traces on our retina.
As if the audience is being scanned or researched.
When the lights disappear, it is impossible to tell whether the shadow moving on the stage is the performer or the latterimages.
Everything in the zero world is slow.
The dancer stood in the center of the stage, scooping up a beam of light from the floor.
It follows his movements and trains in his hands.
Another dancer is trapped in the light cube, which moves and rotates around her.
The widespread use of fog has turned the spotlight into huge cones and pyramids.
Performers surrounded and controlled are everywhere.
There is no real absence here: just make the space visible.
Johnston\'s works are often related to architecture.
He himself is an excellent visual designer, not relying on the traditional stage lights, but building a zero point around several impressive projection techniques.
Powerful projectors for precise positioning and fuselagemapping.
The dancers in Johnston move through complex, glowing geometry, and the projections map perfectly to their contours.
For a moment, see a pair of dancers approaching each other from the darkness, their body is a TV still rain-it\'s the only visible light spot on the black and empty canvas, like in
Disintegrate on Star Trek transport ship
Hector\'s music is usually created according to the acoustic effect of the recorded or performed Building, and is the ideal accompaniment of this kind of glasses.
The narrative of zero is abstract and vague, but the image of death and funeral is everywhere.
Dancers play the role of warriors, priests, and assistants, but in the end they express more elemental power: their gradual movements, coupled with the constant cycle of lights, suggest fluctuations in quantum fields in so-
The work is a remarkable example of gaining strength through silence, but at the Barbican premiere, the trance state it promised never dropped completely.
Every movement at zero point is isolated and has the power of arousal and hypnosis.
The problem is that after several revolutions, Johnston seems to be running out of gas.
These parts do not flow to each other.
There was an awkward pause when the stage was filled with smoke.
The audience did not know whether to applaud or remain silent.
The performance of this intensity of concentration depends on creating an immersive low-energy atmosphere that cannot be separated from the recomposition.
The absent collage cannot stop to breathe.