Inbal Pinto's 'Fugue'.
(photo credit: ROTEM MIZRAHI)
Transcending specific time, place or concrete context, Fugue, the new creation by Inbal Pinto, exquisitely tailored to the smallest detail, is another theatrical dance in a line of many poetic and slightly enigmatic creations produced by Inbal Pinto and the Avshalom Pollak Dance Company over the years.
Since the pair disbanded their partnership a couple of seasons ago, each one now separately creates within the company’s framework, yet their products are soaked with much similar artistic DNA. Although Fugue is an original creation with its own characteristics and singularity, it is very much another link in an established chain of a singular, well-established and recognizable artistic niche, like no other local company.
Though the approach is rooted in the late eighties, while and the stage perception keeps ties with an imagined universe, the company maintained its relevancy due to unusual imagination, sensitivity and creativity.
Reverberating structural elements of musical fugue, the work, and particularly its earlier sections, regard the dancers as instruments planned to harmonize through a certain pre-determined process.
The creation moves along two parallel stylistic and thematic paths that take place in designated spaces: the stage, where the dancing takes place, and in front of the painted curtain in front.
The work is cut into fragments, deconstructing the leading movement’s themes by sharp switches. Scenes are being cut by a hand-pulled, painted curtain, which blocks the stage. With European countryside scenery of yesteryears behind him, mature performer Zvi Fishzon, the company’s “mascot” and an odd man out, is playing his permanent, semi-vagabond role in a silent movie as comic relief. Years ago, many of his contributions were episodic, yet with time, his roles gained more meat. Now Pinto has created for him – besides a line of short solo episodes – a role which enable him to interact with the entire group, adding a unique flavor.
The very capable cast members were totally committed. Though some early parts were a bit contrived, they loaned the participants an estranged and mechanical air. Fortunately, somewhere along the evening, some of the extra effort to maneuver flowing moves toward broken and edgy positions gave way to enchanting group scenes, with intricate, more human currents. Sometimes funny – a face-slapping dance, in particular – the scenes were captivating, oozing with complex sensibilities that elevated the entire evening.
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