A big-name dance company from Quebec Canada has finally made it here! It was
a long-awaited visit, for the company had long been famed for its exhaustively
physical expression using ultra-quick and dynamic techniques. They leave the
audience wondering , just like Michael Jordan's lightning shots, "What's
happened just now?"
They lived up to the reputation in their latest, "2" (choreography by Edouard Lock.)
The dancers jump into partners' arms in revolving motions as in high jump,
duck and jump over kicking legs as if jumping ropes or limbo-dancing,
female dancers lift male dancers high up in the air... Watching those acrobati
c actions unfold incessantly with incredible speed reminded the writer of the
good-old term, "physical elite" (Lisa Lion!)
But now, "being exhaustively physical" goes beyond being the speed and the
force itself, rejecting meanings and emotions. It presents a certain "feature"
in an impressive way. The lighting emphasizes the darkness instead of
high-lighting the glorious bodies. Black costumes are more chic than athletic.
Baroque pieces sound like Spanish guitar through electric harpsichords with
wah-wah and distortion.
Those who once were the fearless children keep on playing in the darkness of
the night that has fallen unnoticed. The thoughts of muscles automatically
hammers out steps which grows sharper and sharper until no one can stop them.
Smell of blood rises from under flexible muscles.
Their game endangers their lives and their penance becomes their toy. For
those who try being physical elites today, that's where they stand. The end of
the show engulfs Louise Lecavalier jumping in a frenzy behind an arabesque
cage, cutting away any sentiment whatsoever. Unforgettable.
Keisuke Sakurai (musician/dance critic)
July 24th, 1996 Asahi Newspaper
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