Anne Teresa De Keersmaeker doesn’t give much away, at least not compared to the lavish theatrical generosity you get with classical ballet and even some types of contemporary dance.
In Rosas Danst Rosas, the Belgium dance-maker offers no sets and no costumes; there’s no narrative, plot, nor sense of place; and while her musical choices are often super blue-chip (Bach, Schoenberg, Reich), in Danst it is digital smash.
Choreographically De Keersmaeker is equally uncompromising, with an intentionally limited movement vocabulary combining naturalistic gesture (straightening blouses, pushing back hair), with rolling on the floor and running around.
It’s a mix that makes a lot of people extremely cross, but don’t be one of them. In her early Rosas Danst Rosas (it was made in 1983), the influential De Keersmaeker creates patterning and precision and synchronicities, and a choreographic narrative, that rival ballet, only in modern-day form. In fact, restricting the movement range only reveals her understanding of it, while her low-key look is hush-lush relief from the conspicuous coquetry of ballet dancers.
Rosas Danst Rosas has four sections. The first is based on the floor; the second on chairs; the third is walking steps in single time; and the fourth walking steps in triple, possibly quadruple pace.
With their socks and plimsoles, and old wooden chairs, the four dancers (including De Keersmaeker) look a little like recalcitrant schoolgirls sitting outside the headmistresses office. Not that you can imagine anyone outwitting De Keersmaeker, who is head girl, ringleader and troublemaker rolled into one.
The only failing is that De Keersmaeker looked tired and under-groomed, as did Cynthia Loemij and Samantha van Wissen. Only Sarah Ludi had the polish and crispness, and easy energy, that produces visual charisma.
Tonight only, then Zeitung, 11 & 12 September. Information: 0844 412 4300. www.sadlerswells.com.
Rosas Danst Rosas
Sadler Wells
EC1
