First came Lane’s solo, Tilted Faun. Most of the work consisted of Lane, in dark jeans and top, elegantly shifting wooden, brick-sized building blocks, constructing towers and other forms, like a child playing with Lego. Or, in this case an angelic architect rebuilding the shattered and destroyed city of Berlin? According to the program notes, Lane was attempting to ‘explore the relationship between sound, objects and the body. A visual sound installation constructed with an orchestra of tape machines, objects and choreography propels a lone dancer through landscapes that are at times stark, melancholic and dark and mythical’. Well….
Weight and balance were important – at one point Lane carried a large number of blocks and held one with her chin to stop it falling. There were simple arm swings and yoga-like stretches, a block held above her head with arms outstretched. Sometimes she shifted just one block, at other times several simultaneously. There was a lot of use of pause and blackout. A long, slithering body line was developed when shifting the blocks, while at another point Lane seemed to put her arm through a tower of blocks. The music – eclectic beeps, growls, clicks, and bird calls – burbled its accompaniment.
The second work, Black Project 1 resembled a cold, post-apocalyptic vision of humanity. A couple, seemingly covered in grey ash, are revealed in a monochromatic landscape. Their movements are synchronised, often twitchy and robotically puppet-like, and featuring incredibly demanding use of the pelvis and lower back. Some of the movement is lizard-like and slow motion is briefly used. There was also very effective use of floorwork, falls and rolls.
The two dancers used white tape and sprayed graffiti on the back wall like blurry stars to ‘enhance’ the futuristic, bunker-like atmosphere (recalling a previous work by Hamilton, 2008’s Blazeblue Oneline, a merging of hip-hop, graffiti and contemporary dance). CGI swirls were used to great effect, as was white chalk (to draw circles on the floor) and white, reflective face or body paint . Choreographically there was also wonderful, sculptural tree-like posed tableaux with arms as waving branches, and at another point angular rotor-like arm movements.
The electronic music throbbed and pulsated. Special mention must be made of the lighting by Max Stezl. At times very gloomy, at others like searchlights, it was a critical part of the show. In the strange finale the dancers at times, because of the lighting, became almost invisible . It all ended with clouds floating across the set and lighting; a combination of strobe lighting, spinning helicopter blades and throbbing music.
The audience was assaulted, challenged and provoked in this most unusual program.
Rating: 3 ½ stars out of 5
Clouds Above Berlin
Spring Dance 2012
Curated by Rafael Bonachela
Tilted Fawn
Choreography, concept, performer: Melanie Lane
Sound composition and installation: Chris Clark
Artistic Collaboration: Margan Belenguer
Dramaturgy: Bart van Der Eynde
Costume, props: Melanie Lane
Lighting: Max Stezl
Black Project 1
Choreography, concept, design: Antony Hamilton
Performers: Antony Hamilton, Melanie Lane
Video projection: Olaf Meyer
Set construction and production management: Matthew Scott, megafun
Music: Robert Henke Vaino and Fennesz
Costumes: Antony Hamilton
Producers: Freya Waterson and Lee Cumerlidge, Insight Arts
Sydney Opera House
August 29 – September 2
