In the opening scene insurgency Some kind of mummies running around on the playing floor. The performers are wrapped in plastic strips with the word “” written on it.SocietyPrinted in red letters. The English voiceover tells how people tend to adapt to group behaviour. Then dancers show how this works in smart scenes: they move from one direction to another at lightning speed, from selfies to dance styles to brisk Black Friday shopping.
Kartunsk
Choreographer and stage maker Cecilia Moisio excels at this type of slapstick, as she previously explained in win over, her previous performance for MaasTD Rotterdam Youth Theater Company. But in addition to imitating the strengths of that performance insurgency Also weaknesses. Moisio falls short as a director: her artists have a problem when they have to play the role of sociologists in a later scene. Childish, cartoonish gameplay is not convincing here. Additionally, Moisiu tends to use a narrative approach in her choreography. in a insurgency You don’t have to doubt what is depicted in any dance segment. It leads to a one-dimensional representation that leaves no room for your own interpretation.
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This is a shame, because video interviews with young people, which are also an important part of the performance, show a lot of nuances. During the setup process, Moisio questioned the teens about their experiences of (not) belonging and meeting criteria. Their disarming and sudden political maturity lead to great conversations: you want to know more about the girl who first said that people always wanted to belong in a group, but still sees herself as “lonely‘Describe. It is a boy who is under pressure in his life to conform to old ideas of masculinity.
In contrast, the emotional depth of the interviews makes the artificial intensity of Moisio Dance Theater all the more agonizing.
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