There is something wildly beguiling when discussing the concept of relevance with a devotee of the ‘high arts’. With a turning circle of the Titanic, it is intriguing to listen to someone half your age attempting to convince you that everything created after 1794 is beyond redemption and should be excised from human existence. But yesterdays Mona Lisa is today’s Banksy and tomorrows classic.
Thankfully, the human body and dance remain a constant source of creativity. An endless well of sustenance to those so inclined. Five contemporary choreographers return to this source and present their individual take on the body and its ability to be contorted into fascinating manipulations and rotations. Fat on creativity and lean on excess, BodyTorque.DNA was a snapshot into committed and inspired minds. Remove the choreographic statements from your mind and merely enjoy the performance.
Ranging on some minimalist almost solo performance to ensemble pieces reminiscent of West Side Story, all five pieces were a credit to The Australian Ballet, and the creators. The spectacle was a clear example in which the whole was greater than the sum of its parts. Same Vein and Control combined the elements of sight and sound best. The precision, movement and symmetry was bewitching. I Cannot Know, Corpus Callosum and Extro also had abundant credit. The innocence of an Alice in a darkened Wonderland, and images bleeding into each other meant that the patrons could be pleased with what they witnessed. Australian dance is in good hands for those seeking to advance the art-form and deliver a resilient blast of fresh air. The sense of discovery was liberating and backed with the intellectual force of the performances, an archetype for the future was created before your very eyes.
BY BRONIUS ZUMERIS
Bodytorque.DNA made its Melbourne debut in 2014 for three exclusive shows on Tuesday June 17, Wednesday June 18 and Tuesday June 24 at the Arts Centre Melbourne, The State Theatre.
