Photo: Julian Mommert
The play “The Great Tamer” begins with a look, frank, straight in the eyes. It ends with a breath.
There are too many images. There are too many images, and how to resist them ; and how to absorb them without their becoming waterproof, without the consume the scroll of a finger on the mouse. There are too many images and how, artist, add, and why ?
How to create more, especially if as the choreographer Greek Dimitris Papaioannou has made its Beaux-Arts, was a painter and a cartoonist, and we know his art history and its masterpieces of western on the tip of your fingers ?
In focus, in relief, intaglio, by a nice game of counterpoint, on the human beings who compose them, which are image, as a whole, as opposed to that which permeates the retinas of spectators. Mr. Papaioannou and his ten dancers are, and a master hand, in The Great Tamer.
Interview — The archaeology stage of Dimitris Papaioannou
The play starts with a look, frank, straight in the eyes. It ends with a breath. Between these two fundamental actions of the relationship, the human and theatrical, déferlera an abundance of images on the stage. In black and white, black and flesh, shadows on wood.
Over — and under… — floor bowed and gondolant, made of small tiles overlapping that are reminiscent of slate, will appear of the archetypes, images of pop icons.
Spend, for example, of the marauders in a field of wheat, Atlas supporting the world, the beings are double and hermaphrodites of the Aristophanes, of Plato, of dismembered bodies way Addams family, a nativity that has walked on the Moon, a sex bed, and a thousand others.
Everything is made up under our eyes, and yet everything emerges, and surprises ; superimposed first comically — especially for the geeks of the visual arts — and absurd. The images on stage are at once complex and simple, unfold, and are embodied in a report to the partners and to the many accessories — often in balance, often that fall, and this link to the gravity forces the dancers to be in a constant relationship to time and the actual weight. Mr. Papaioannou has a strong sense of what we might call the ” distributed visual “.
The use of the very trendy Beautiful blue danube, slowed down and mashed up, as well as feedback and long silences add to the side of iconoclasm. We think a little bit Germinal of Defoort and Goerger, version purely visual, but The Great Tamer occult finally the comparison with his own signature.
The strength of the proposal, it is to happen, in this helter-skelter imaginative that avoids clichés, to the emergence of the presence (great) dancers, the group work, the sense of timing (piece arrives well-tested), the meaning of the timing of the other ; in short, to find a breathing common that juts out soon on the spectators. There is no gesture, almost ; that a work. A finesse, a delicacy in the execution and in the reports that the performers have with each other, listening quality rare, and today’s socially essential.
And it is that fact that this abundance of images is generous and alive ; that the machine-theatre work without becoming a system, without the imposition of affects ; that this flood of images, beyond the death-dealing consumption report in which several works of art can give. In this sense, Mr. Papaioannou crops the spectacular where it should be, in its old definition : “that speaks to the eyes and to the imagination “.
The time is stretched, the piece lasts 1: 40 pm and defies the low concentration in which it is capable today, and it is also very good. The false purposes accumulate, the accessories are disposed one after the other at the bottom of the scene, the virtuosity of geeks of the performers going on and off : a thousand little deaths to remind us of this mortality that we ned to length of day.
In short, it is beautiful. An intelligence and a coherence rare. It seems that it is full. Think of the bribes, the fangs-in-leg to the entrance of the Plant C, the straightforward theft of tickets, as it is to see.
“The Great Tamer “, choreographed by Dimitris Papaioannou.
With Pavlina Andriopoulou, Costas Chrysafidis, Dimitris Kitsos, Ioannis Michos, Evangelia Randou, Kalliopi Simou, Drossos Skotis, Christos Strinopoulos, Yorgos Tsiantoulas, Alex Vangelis. At Plant C, up to 27 January.