Photo: Fan Xi
In “9”, the trajectories of the dancers—always circular—expand, spread on all the plans, wheels and rolls acrobatics.
From Beijing, the Tao Dance Theater brings its understated, chic and refined at the opening of the festival TransAmériques. Strong, contrasting, although both minimalist and abstract, the parts 6 and 9 — that the choreographer Tao Ye tire of a suite numérale started in 2008 — well-appointed, offer a large spread of sensations and effects in chiaroscuro. A crossing contemplative between two atmospheres that have strengths and flaws.
In the first panel of his diptych, the young choreographer, chinese installs from the outset, an aura of mystery. Barely visible, a row of silhouettes in long black dress appears surreptitiously in the darkness. From the back, forming a diagonal, the dancers start a phrase of choreography while circularity. A partition of the energy is contained and concentrated, a sort of variation on the same theme of which spring from the very subtle changes. The legs are rooted in the soil and the hands clutching the fall of their robes, the movement of the dancers is circumscribed around the spine hypermobile until the end of the neck. In their trunk, creeping of multiple rotations, taking progressively more major, while the melody of the strings oriental rubbed intensifies.
The lights ingeniously regulated offer a perspective that is always renewed on the diagonal of individuals without a face. The poetic image of reeds booed by the wind comes to mind. And then, out of the shadow and doing a volte-face, the same phrasing is repeated in new light moving. Splendid when the heads are tipped backward, and the knees touch the earth gently, the dance of Tao Ye and his virtuoso performers navigate with great ease between the two opposite poles of a line vertical winding.
While 6 , with its play of light gradually drawing the silhouettes of the darkness we grew to be attentive to the deployment of the slightest gesture in the space opaque, and managed to snatch, 9 poses of the dancers in a clarity raw on a scene in pristine white.
Kimono grey, their trajectories — always circular — take this time of expansion, expanding on all the plans, wheels and rolls acrobatics. The feet trace circles on the ground, the hands take and support the body, propel themselves with agility, drawing curves set with rolled arms and legs. The relationship with the weight here fascinated through the numerous falls to the ground depreciated as of the foam by a bearing shoulder. Impressive flexibility ! In this disorder rigidly organized, the abundance of the movements recalls the agitation of a sample of cells under a microscope.
But what may fascinate us in the first place in 9 eventually we tired of it, the circular trajectories is repeating to the point of saturation ; a too-full-of accumulation on songs sounding like mantras. Although the stylistics of the two parts is similar, of 9 eventually emerges a fadeur which is absent from 6, in which the scenography is made by the lights and the music, more sophisticated, comes magnify dance.
6 & 9
Choreography: Tao Ye with the nine performers of the company Tao Dance Theater. Presented in the framework of the FTA at the théâtre Jean-Duceppe from 23 to 25 may.