At Breakin" Convention, the Sadlers Wells legal holiday of hip-hop dance, opening spills happily off the theatre and right by the building. Children try out stairs in the aisles, DJs fool around in the foyers, workshops and opening sessions stand up everywhere. "How do you turn on your head?" asked host Susan Reynolds, awed by a little onstage acrobatics. "You get on your head and spin," pronounced a beneficial voice from the audience. Then he got on theatre and showed us.
There were fantastic acts on this years bill. My favourites were the Japanese locking twin Hilty & Bosch, a near-identical span in relaxed suits and trilby hats. They move with the weak fluidity of cartoons, bodies folding and waggling, limbs springing behind in to place.
Their timing is phenomenal. Hilty & Bosch will begin a duet in unison, limbs pumping. Keeping the stroke going, they begin to do resisting moves, gnawing in and out of the common pattern. The speed and meandering turn funny: these dancers are so accurate that they begin to appear unreal.
French organisation Phase T were accidentally astonishing. One soloist flips onto his head and slides, travelling fast and upside down. Spinning on the spot, he twists and jerks, legs scissoring. Dancers rebound along on one hand, shoulders knotting as they flip in to new poses.
Danish association Big City Brains had some-more humerous entertainment hip-hop, with dance as visual illusion. Phax is an startling slow-motion performer. He looks similar to slowed-down, flickering film. His colleagues pull towards slapstick, their bodies relating the soundtracks receptive to advice effects.
Breakin" Convention additionally showcases some-more initial hip-hop. In the Lilian Baylis Studio, Compagnie Mira action out a relationship, from acrobatic display off to flirting and arguing. Having got together, they do a smart unanimity travel one in front of the other, relating strides and swapping places.
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