Laboratory of Dance Criticism is meant to be a professional workshop for a group of young journalists, dance critics and theorists, and also for dancers interested in writing, organized with the aim of re-defining the role of dance criticism in today’s socio-cultural context and the role of the recipient in the process of understanding.
Echoes - first day of L1danceFest by Zita Sándor (big hits)
Hit and hot
For a longer or a shorter period everybody wishes to be a part of a big hit. Sometimes we are only a part of a fat hit. Well, don’t take everything literally, specially don’t make yourself asshole. But what if someone really does? Then comes the performance called Big Hits of GETINTHEBACKOFTHEVAN.
Lucy and Jennifer really, literally speaking want to present a show satisfying all wishes of all kind of spectators. They make jokes, Lucy sings amazingly and terribly, Jennifer picks up a bunny costume and make sweet and evil movements, we see some artificial blood what somebody licks from someone else’s body, we see the technician guy presenting and holding the speakers, there are well-known clichés of sexual aggression, pain, romantic, Parisian scene. It’s even tiring to enumerate what we see in their show…
However, the fiction is simple: they want to sing a song and entertain us – no matter what means to be entertained for each member of the audience. The really strict and wisely structured dramaturgy mixes the inner and the outer side of a show in a funny, ironic and even a harsh way: we see the “naked” process of show making (of theatre making). The reality of the show, the reality of the backstage work and the reality of the “real”, “civil” life are merging, the borders are disappearing.
The self-reflective act is not new in theater, (in a bit old-fashioned way) it wants to change our thinking about the entertainment industry and its often low quality. The piece starts like a light cabaret making the audience comfortable and gradually, almost in an undetected, seductive way it goes till brutal, dirty and obscene scenes. The body of Lucy is excessively beaten, used, crashed, shown. The theatre hall becomes smaller and darker, the air heavier, body-fluids are everywhere: sweat drops, spits, make up fragments and hair are falling on the stage. The fragile female idol is falling apart – let’s achieve the real pain! – she is losing her high heel shoes and artificial nails, her hair-do is becoming unrecognizable, she gets rid of her clothes making pink blush on her nude backside, making rude comments… Everything is told and shown, everything is the victim of a self-irony. Borders are crossed, audience is touched. Personally, I had been touched with fewer nudity and obscenity – but to be honest, before suffering and wanting to go away, to closing my eyes and ears I was also enjoying the show.