MARINA COLLARD
Many much, many much too many
Transitions Dance Company Commission
Intriguing triple bill by @transitionsdc at #Laban tonight ranging from the profound to the frivolous. Especially loved the piece by @marinacollard which was darkly mysterious yet oozed truthfulness. Brilliant!
photos: Rachel Cherry
Using a filmic-like edit-cut-splice method and set to a new score by sound artist Paul Newland with lighting design by Michael Mannion, Marina has made an intriguing, witty and poetic dance work. Negotiating the changes and disruption caused by seemingly shifting tectonic plates, the fourteen performers loop, develop and reset their material according to a collective blueprint.
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Review by Miles Hedley
Marina Collard’s many much, many much too many. As usual with Collard, the oddness of the title seemed to reflect her challenging choreography, which in this piece was full of sudden entrances and exits, interrupted interactions, one-sided interfaces and group sequences involving all the dancers in which they appeared to be acting as autonomous, almost anti-social beings.
The unsettling mood this created was heightened by Paul Newland’s accompanying soundscape – a mix of minimalism and eerily auto-tuned voice effects that reached a chilling climax as the dancers left the stage until only one was left, reaching skyward until she was enveloped in darkness. It was as good an allegory of life and death as I have seen.
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