Photo © 2009. Nannette Bertschy & Ann Moradian.

looking at the world and challenging our assumptions, definitions and creation of it through the lense of the body, movement, the arts and science.

Saturday, March 29, 2014

Impression: James Thiérrée's Tabac Rouge


photo copyright Tabac Rouge

Reviewer's Notes:
Last year when James Thiérrée premiered his newest work, Tabac Rouge, he did not perform in it. In the past, the works he has made for his company, Compagnie du Hanneton, have not only centered around him as the principal performer, but have also been powered by his extraordinary skill and charisma as a performer. Hats off to Thiérrée for plunging into a new phase in his creative process with honesty, courage and moments of brilliance.

I have been a bit late in getting to this program, and in writing it up. But definitely better late than never in this case!

To read my "Impression" of Tabac Rouge for The Dance Enthusiast, click here

--
Ann Moradian

Thursday, February 20, 2014

Impression: The Rime of the Ancient Mariner

Fiona Shaw & Daniel Hay Gordon performing at Bouffes du Nord in Paris. For Ann Moradian's IMPRESSION of this work for The Dance Enthusiast, click here.

Photo (c) Richard Hubert Smith

Reviewer's Notes:
It all started with rehearsals in director Phyllida Lloyd's kitchen. Fiona Shaw (who you may know as Aunt Petunia in the Harry Potter films, but she has done so much more!) and Lloyd were just thinking to present something relatively informally for their friends, they said at the Q&A following the performance I attended, as a way of bringing poetry to life through theatre. And while the costumes remain pretty ordinary (simple black t-shirts and trousers), it has long left the kitchen and the UK, to travel through Greece, the US and most recently Paris at Peter Brook's dream of a theatre, Theatre des Bouffes du Nord.

It was interesting to learn that the single dancer, in the form of Daniel Hay-Gordon, was originally a chorus of 6 male dancers. Only Danny, Shaw explained, could move through the physical images quick enough to keep pace with the rhythm of her text. Brought to life vividly by this team of artists, it will be long while yet before it returns to a quiet existence in the private domain of Phyllida Lloyd's kitchen.
--
am

Monday, February 3, 2014

The Chant of Medusa

The Chant of Medusa © Ann Moradian. All rights reserved.

I do not ask to know
knowing that knowing is past;
knowing that knowing now
means living now, no more.

I do not ask to know
knowing that knowing cannot be held;
knowing that knowing cannot be held,
alone.

I do not ask to know
knowing that knowing is moving, through time;
knowing that knowing
knows only a moment.

I do not ask to know
knowing that knowing is memory
of a moment before.
Trapped in a moment, motionless
for a lifetime, knowing
a memory.
Living now no more.

Living now, no more.
Moving forward with the moment that is now
now now
now --
Knowledge carries me in its arms.
Dare I see?

I do not ask to know
knowing that knowing cannot be held;
knowing that knowing
can only be known being held.
I ask to be-held and be-hold.
Sharing this moment in time and space;
beholden to each other by membering the moment that is now
now now
now --

--Ann Moradian, July 25, 2009

Thursday, January 23, 2014

IMPRESSION: Aurélian Bory & Kaori Ito's 'Plexus'

Bory has created Plexus as a portrait of Kaori Ito, presented at the Theatre des Abbesses this month. To read Ann Moradian's IMPRESSION of the performance, please connect here to the Dance Enthusiast.


Photo © Aglae Bory

Reviewer's note:

It was a pleasant surprise when Aurélian Bory joined Kaori Ito on stage for a bow at the end of Plexus. My husband, who began his career as an engineer, was as fascinated as I was by the set and lighting. I gathered up the courage to ask if we could meet him.

He explained the construction of the set with patience and what I believe was a quiet passion. He guided us onto the stage, explaining the set’s construction as we looked at it more closely: a single string, woven thousands of times between the two platforms with microphones planted beneath and on top of the platforms. The string is ordinary and the platforms disassemble into smaller squares. It is so simple it goes beyond elegant. It is a work of art in its own right and, between performances, would be better stored in a museum than in a warehouse.

Bory mentioned that he had begun his career in physics and architecture. Clearly he has never left either discipline, but only added on others. It helped me to understand why, even if I do not love all of his pieces equally, I have been so intrigued by his work over the years. There is an element of pure mind at work in space, testing the limits and exploring with an avid curiosity.


Photo © Mario del Curto

Lighting designer Arno Veyrat has worked with Company 111 since its beginning and his work is beyond brilliant in both Plexus and Sans objet, where the lighting brings relatively static materials to life, so that they are active participants in the dance.

When I told Ms. Ito that I had been keen to see her in Bory’s work because I had seen her perform in James Thiérrée’s Au revoir parapluie and, knowing what extraordinary feats she is capable of, was curious to see what they would come come up with together. They said it was actually their mutual friend James Thiérrée who had introduced them in 2009, when they first began discussing this work. It was well worth the wait, and a piece I would happily see again.

--
AM

Sunday, December 22, 2013

Happy Holidays

The days begin to lengthen again, today.
Light your candles. Warm your heart-fire. Hibernate if you can.
And enjoy the magic of each moment that is life!

Photo © Ann Moradian 2012.


Tuesday, November 19, 2013

Baryshnikov & Dafoe in Paris in Robert Wilson's THE OLD WOMAN

IMPRESSION for The Dance Enthusiast by Ann Moradian














Photo (c) Lucie Jansch.

"It is stellar. Mikhail Baryshnikov and Willem Dafoe come together in director/designer Robert Wilson's new work, The Old Woman, with stark and brutal brilliance. It is like watching a light so intense and unwavering that you end up swimming in darkness. It is like watching a black hole being born with your eyes wide open..."



"...The Russian writer's (Daniil Kharms) novella has been adapted powerfully for the stage by Darryl Pinckney, with phrases that come at us again and again in English and sometimes Russian. The language is beautiful and cruel. Wilson delves into this domain with assurance. Everything is stamped out with a force, like a printing press that cuts through the paper..."

Photo (c) Lucie Jansch.

To read the rest of this article, click here


Friday, October 18, 2013

MEDUSA: The Birth of a Monster (in-progress), Photos from May 2013 presentation at Centre nationale de la danse in Pantin

by Ann Moradian
in collaboration with visual artist Nannette Bertschy
Written & Directed by Ann Moradian
Lighting Design by Fred Moreau
Photos by Alex Vanagas

Maja Bieler & Lionel Rondeau. Photo (c) Alex Vanagas.

Maja Bieler, Brune Bazin, Jennifer Ferrari & Lionel Rondeau. Photo (c) Alex Vanagas.

Maja Bieler & Brune Bazin. Photo (c) Alex Vanagas.

Solveig Haugen, Louise Denyer, Adrien Binh Doan & Maja Bieler. Photo (c) Alex Vanagas.

Maja Bieler. Photo (c) Alex Vanagas.

Click here to see more!