|Grupo Corpo — handout photo|
It was obvious the second piece, Breu, was being sold as the more noteworthy — dystopic as it was.
However, I found the first piece, from which the photo above was taken, the most compelling, partially because Breu relied on many similar moves already seen in the piece prior.
Also, the first piece was much more witty; Breu's choreography made it an event occurring on stage for the other dancers while the first, titled 7 or 8 pieces for ballet, was directly engaging of the audience.
Some audience members obviously tried to find the same intimacy in Breu as a few scattered weird and inappropriate laughs scattered during the piece indicated; this failed and it just added to the strain of watching the piece, despite its technical interest. Breu was simply emotionally disappointing — particularly after the emotion brilliance that preceded it.
So let us talk about 7 or 8 pieces; I thought the ballet I saw weeks ago was breathtaking at the time, now I know it was a pale piece on which to use such a word. This piece, performed by this troupe, iswhere athleticism and beauty soar. I was instinctively looking for meaning in the piece but eventually gave up and let myself be swept away. The vividly striped pants, warmly full-lit stage reflect the childish whimsy of the piece. How the dancers were able to coordinate their movements so minutely — well, one must look to that magical instinct that can occur on a stage among artists who have given themselves over, letting their muscles and innate rhythms flow, feeling each other perfectly. It was brilliant.
One woman in the troupe, whose name I do not know, stood out. We oft hear the phrase "she moved like water"; this woman literally did. She subtly emphasized the latin assumption behind the strenuous piece and was sensuousness embodied, with all its joy and coyness, undulating her hips across the stage.
Ah. I will see them again. Just not Breu. More whimsy, please.