‘EPISODE 17' 370.
(photo credit: Ingmar Jernberg)
A visit by the Swedish company Goteborg Ballet turned out to be a treat for dance
The program is a triple bill by three Swedish choreographers
who used the famous score of Bolero by Ravel as a jumping board, and set their
It’s a challenge to offer new renditions and disregard
the iconic Bolero by Bejart, one of mid-20th century dance’s
Bejart had matched the piling up musical modules, compelling
a tense emotional buildup that peaks and ends with release, often compared to
the act of love.
Johan Inger in his Walking Mad (2001) based his actions
around, through and on top of large wooden fence with much imagination. The
atmosphere on stage had a familiar Nordic look, evoked by his compatriot Mats
Ek’s Solo for Two. Inger added to the music of Ravel, a section from Arvo Part’s
For Alina, also used by Ek in his duet. Matching those two scores pronounced
acute deviation from Ravel’s musical proposition, but it supplied a beautiful
final section in its own right.
Kenneth Kvarnstrom, the company’s
artistic director compose Orelob (2008) almost buried Ravel’s score under the
electronic music of Jukka Rintamaki, who delicately interwove faint clues to
Ravel, particularly in the rhythm layers. Again, the dancers are magnificent and
extremely attentive, and were a pleasure to watch throughout the evening. Among
them is one of our own, the bright Lea Yanai.
Episode 17 (2008) by
Alexander Ekman supplied its own share of excitement with a wild and piquant
dance by company’s 21 dancers. He cleverly deconstructs the components of the
music and proposes actions that relate to them in unexpected, highly original
manners and phrasings. An impressive evening of contemporary Swedish dance.
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