A-Level Dance - Nederlands Dans Theatre, Jiri Kylian

'Let us read, and let us dance; these two amusements will never do any harm to the world' - Voltaire

'Bella Figura' - Jiri Kylian, 1995

'Sleepless' - Jiri Kylian, 2005

'Sleepless' - Jiri Kylian, 2005

As I am nearing the end of my secondary education, and exams are looming- I thought I might do a short post about one half of my A-level dance course- (please suppress your yawns!). Alongside choreographing a 2-3 minute group piece, it's natural to study a contemporary dance practitioner, a list of which are provided by the exam board. 

I am studying Czech-Dutch choreographer Jiri Kylian, whom is known for his modernist, avant-garde approach to movement exploration and use of theme. Now, not only is his work astoundingly technically challenging- but the dancers he chooses have limbs like giraffes and flexibility to rival a pipe-cleaner: daunting to say the least, when you have to perform a solo that reflects his choreographic style. 

As is standard, I have chosen two of his works to inspire my solo: 'Bella Figura' (1995), which is an exploration of the human mind and the subconscious 'performance' to which human nature conforms, and 'Sleepless' (2005), which focuses upon the state between being awake and asleep. From these, and with the help of my teachers, I have created 'Somnus'- a 3 minute solo dealing with the concept of consciousness. 

 

Here is my solo!

 I know, my technique isn't flawless, nor do I have the NDT 'beanpole' physique; but this was only a rehearsal, and I am still pretty proud of this piece.

Oh, and sorry about the poor video quality- it was filmed on my crappy phone!

Bella Figura by Jiří Kylián

Bella Figura by Jiří Kylián

Netherlands Dans Theatre

Have you ever been on public transport, and you accidentally catch the eye of someone sat opposite? You both squirm with discomfort- yet can’t quite look away, because you are somewhat intrigued? … Yes, I’m afraid I did just compare Jiri Kylian’s immense collaboration of modern dance and classical ballet to being checked-out by some leering pervert on the Tube, but the analogy works, since there is something fascinating about the off-kilter quality to Kylian’s choreography.

An NDT dancer is a curious being: maintaining an extraordinary level of strength and movement dexterity, yet sustaining the ability to contort, twist and contract like a pipe-cleaner. Kylian’s forte appears to be one of innovation; the physical exploration of the human body in Bella Figura will surely have the geriatrics in the front row choking on that gentle, full-bodied Shiraz they ordered during the interval… for the gender of the dancers is almost undefinable. Through the use of billowing russet skirts, nudity and an interesting pair of beige knickers; both men and women are stripped down to the barest level of vulnerability; adopting regressional and distressing foetal contortions.

But I feel I should warn you: if twee country-side sets and smiling bourrées, that clatter in a perfect resonance with a sweet, orchestral score, float your boat… Bella Figura ain’t for you. The stage is sparse- with an industrial, exposed lighting-rig and unoccupied wings- creating a stage of an enthralling, infinite size. The dancers begin, vacant and unstructured, simply marking-through movement; a nod to the ‘performance’ that Kylian attempts to subvert. Then the music: a rich, luxurious drone which sways the piece away from the former unrehearsed nonchalance to an altogether more melancholy tone- with a constant, frugal wash of light standing as a contrast to the wealth and detail of Kylian’s movement vocabulary.