Posts tagged memory
Light and Shade

Recently landed: Light and Shade, Gracia’s written response to LAC presented by The Australian Ballet, for Fjord Review

A bevy of black swans circled our car parked near to the lake’s edge. It was my first encounter with a black swan, nose to beak, separated only by a wind-up wind-down window pane. I would have been no taller than one of the swans, had I’ve been out of the car. I remember feeling awestruck by their scale, their very presence. And yet as I was four-years-of-age, or thereabouts, is this a later addition stitched to a memory derived from family folklore? My Mum recalled one of the swans hopped up on the car’s bonnet, but wonders now if such a spectacle is likely. A small car buried beneath a mountain of feathered bodies, it is almost a cartoon image — better yet, a cinematic one — when viewed from a human perspective. In territorial union to our intrusion, the swans rallied, and looped for me a definitive impression of swans, lakes, and Tchaikovsky.

The swans of my memory and family folklore were not so unlike the hissing, awe-inspiring Chimeras within Jean-Christophe Maillot’s
LAC, a modern telling of Swan Lake, performed with attack by the renowned Ballets de Monte-Carlo. Imposing, glorious, memorable.

In
LAC, Maillot, together with writer Jean Rouaud, resurrected “these buried experiences”, albeit against a more “Machiavellian, family backdrop …. to present a ballet of contrasts. The change from animal into human being infuse[d] the entire work and question[ed] our own nature. We believe that we differ from animals because of our ability to make choices. But is this all we are capable of? …. Perhaps our humanity ultimately lies in this unsophisticated insatiability that defines us from our first cry — We want everything!”

Les Ballets de Monte-Carlo in LAC by Jean-Christophe Maillot (image credit: Alice Blangero)

The colour of nostalgia

Recently landed: The colour of nostalgia, a new article on Marginalia (by Gracia) takes you to Graeme Murphy's Nutcracker — The Story of Clara

The Australian Ballet's Kevin Jackson and Leanne Stojmenov in Graeme Murphy's Nutcracker — The Story of Clara (image credit: Jeff Busby)

Rolling Stones

Recently landed: Rolling Stones, Gracia's written response to Melanie Lane and Juliet Burnett's Re-make, and Jo Lloyd and Nicola Gunn's Mermermer, presented at Chunky Move Studios as part of Next Move 9, for Fjord Review

"The gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back of its own weight. They had thought with some reason that there is no more dreadful punishment than futile and hopeless labor.” To me, this is what the creative process can feel like. Creativity is resilience and determination that comes to the fore when tested; when we “re-visit, re-spond and re-invent.”

And so Re-make, one of two commissioned works in Chunky Move’s ninth Next Move performance season, began with Juliet Burnett repeating the same steps over and over, returning to the same marker. “The stage sets collapse[d]…. and Monday Tuesday Wednesday Thursday Friday Saturday and Sunday [operated] according to the same rhythm,” but as they did, the steps slowly changed. This is growth and reinvention through repetition.

In Re-make, references to Greek Mythology and Camus’s philosophy of the absurd, to the eternal labours of Sisyphus and his boulder, abound. And Burnett is stronger than her rock and the likelihood of hearing her effort is zero. At best, you will see a circle of sweat at her armpits and in the small of her back grow in size. And in her descent, she will turn into a bird; a silver-winged Phoenix, with a guitar plectrum for a beak and red heeled talons. This work may be the result of a conversation with choreographer and performer, Melanie Lane, but I cannot help read it as a portrait of Burnett’s own artistic career as she finds her true creative voice. This is “a solo for two.”

Melanie Lane and Juliet Burnett in Re-make (Image credit: Gregory Lorenzutti)