At Zoo, Southside. Edinburgh Fringe, 22 and 24-27 Aug 218 1800 hrs
A grouping of shifting, swivelling dancers. Sharp quarter turns, heels slightly lifted, neck torso arms and face rigid and unchanging. Automaton meets shop dummies in Autóctonos II, and save the odd cryptic word from one of them every now and then (it is assumed the dancers can influence the order and formation by randomly giving a verbal sign) and the faintly varied, prepared piano, so it continues. For 10 minutes, 20 and counting, Ayelin Parolin’s choreography and Lea Petra’s composition and playing goes on.
For sure, this repetitive, unchanging movement is extensive within the contemporary dance community at all levels of experience just now, if the Edinburgh Fringe and International Festival are anything to go by, and if it represents their reality then it doesn’t say much for the lives they are leading or seeing around them.
Bleak, uninteresting, monotonous. If it is meant to be this way – it succeeds. It may be representative of reality, but is it the stuff of effective performance? It is as if they would have done this without the audience. There are, as the programme puts it, “hairline fractures” of change: eventually a range of arm movements (physical ticks, a cut, a thrust, a punch) which are then used for the whole of the second half; slight changes of direction; occasional separation of one from the crowd; a hint of variety of plane; a sort of searching or looking. There is a complete absence of beauty.
If this is the truth, no wonder no-one marches or opposes any abusive government or partner! An enquiry into this topic is laudable, but it is truly mind-numbing and pedestrian to view. For some reason even the score, played so attentively, is the same; probably because it is monotone and uses an intensely small range of notes.
The lives of workers and those with no resources, of the down-trodden or of political prisoners when shown on the TV or written about, suggest that human beings find a smile or a notion of love even amongst the terror or fear. There is nothing of that here.
The performances are focused, the actions precise, but there is zero for an audience to hook onto, and although this may be representative of their view, it only serves to alienate and estrange the watcher, avoiding any sort of outcome. Is it enough to show a state of mind but evade explanation or comment?