Emio Greco 370.
(photo credit: Jean-Pierre Maurin )
Emio Greco, on his second visit to Israel, opened TLV Dance events at Suzanne
Thirteen years had passed since Greco, an acclaimed, intense
performer with ascetic and dramatic flair, kept the viewers breathlessly excited
on the same stage.
Now, dressed to kill in long, silver- sequined outfit,
he demonstrated that he still has some performance tricks up his sleeve,
however, his attempt to match his clownish approach to the free reinterpretation
of Bach’s sublime “St. Mathew’s Passion” seemed to drive both sides of the
equation away from each other, rather than forming unique encounter with added
It began with a couple of interesting scenes, as Greco stood
behind a microphone, moving his arms echoing the musical phrases, letting the
body respond to what he called “consciousness of the body.” The stage was
darkened for the second scene and only one spot lit the top of the piano. Greco
played his agile arms through the beam which in turn illuminated his silvery
outfit, which sparked like electric fish in a dark pond. It was an amazing, yet
simple double reflection interplay.
At some point, the effort to produce
more and more gimmicks, took over. A great gap opened between the impressive
intellectualization of the dramaturgical aspects of the dance and musical
transcription, proposed by Greco’s long-time partner Pieter C.
and the performance aspect of the dance.
Force-feeding the pianist – the
excellent musician Franck Krawczyk – a banana, overriding the music with sharp
whistle blows and deploying slapstick instead of smart humor, were all more
ludicrous than amusing.