Space Theatre, Thu 17 May.
Directed by Alison Currie, Concrete Impermanence is about the fragility of existence. I know that because the program told me so. But really it could have been about anything. And that is both the challenge and advantage of modern dance. It is interpretive by nature, and with such a fluid and ethereal theme it’s wide open as to how it’s represented.
Three dancers variously danced, crawled and rolled about The Space in tandem with a set of beautifully versatile concertina objects that stretched and folded into walls, benches, couches, books, and mattresses. Everything was fleeting; constantly changing as new shapes demanded new movements and new relationships. Sometimes trapped and often freed the dancers weaved in and out of their changing reality.
An at times threatening sound score added a level of abstraction and was more background noise than music. A visual representation of the sound score playing on a screen at the back of the space, designed to aid deaf and hearing audiences, was a curious distraction throughout and added a further level of abstraction.
Matt Adey’s excellent lighting effects were crucial in filtering our view of this temporary reality. A photograph taken at any moment of this performance would look bewitching. As a series of stills it was gorgeous. To enjoy the choreography and movement it may be better to stop trying to work out what it all means and just appreciate it for what it is: the human form, without words, simply playing with the idea of impermanence.
Concrete Impermanence continues at Space Theatre, Adelaide Festival Centre, from 7.30pm, until Fri 18 May.
Book at BASS on 131 246 and bass.net.au. Click HERE to purchase your tickets.
Image courtesy of Jessie McKinlay