“A Love Supreme”: the square of enchantment

«A Love Supreme»: carré incantatoire

Photo: Anne Van Aerschot
With its flip-flopping and swaying, its ebb and flow dynamics and tensions between vertical and horizontal, we are well aware of the style finely-wrought by the choreographer Anne Teresa De Keersmaeker.

Certainly, no masterpiece of the music seems to resist the shiny claw Of Anne Teresa de Keersmaeker. Not even this monument of jazz history that is A Love Supreme (!), partition of the most complex, as are mixed up in organized chaos voices, four instruments — a sax, a bass, a piano and a battery. Choreographed in tandem with the Spanish Salva Sanchis, the work resumed and reworked for a quartet of male through the dancers on the wave Coltrane with a musicality so far-sighted that the body seem to have become the echo of each instrument.

Everything takes birth in the silence, in the preamble, as if the quartet had laid the foundations for a grammar of gestures. On the stage, stripped, geometric lines across the ground showing all of the rigor — obsessed tough — deployment in the space of the writing of the choreographer belgian. Patterns of movement in channels, pull-ups, races coiled, and brought collective come to decide the space, while echo and the breath of the dancers in silence. Solo, Thomas Vantuycom, who will play the sax of Coltrane, shrink the space, rocking, hyperactivity to the stillness while creating a remote link with the audience with his gaze sweeping the room.

The first notes tumultuous sound on a scene that has been abandoned for a time by the dancers, before they respawn to let them wear each by their instrument of record, among several join together and demonstrate that, if there is a freedom of improvisation, it is not done without a very solid structure.

With its flip-flopping and swinging, leading with flexible arms and heads, its ebb and flow dynamics and tensions between vertical and horizontal, we are well aware of the style finely-wrought by De Keersmaeker. While, in turn, the dancers fade into the background, giving way to the improvisation of a body-tools of head, gestures, embracing some of the inflexions of the music without succumbing to the temptation to illustrate it.

All the strength ofA Love Supreme is based on the very fine balance between a structure unit and a write tight leaving almost nothing to chance, but leaving, however, the oxygen to the interpreters. José Paulo Dos Santos (drums), Bilal El Had (piano), Jason Respilieux (bass), Thomas Vantuycom (saxophone) are exciting in their moments of improvisation and drift brilliantly on the crashing energy of Coltrane in this square of enchantment.

A Love Supreme

A creation of Anne Teresa De Keersmaeker and Salva Sanchis (Rosas) on the music of John Coltrane with José Paulo Dos Santos, Bilal El Had, Jason Respilieux, Thomas Vantuycom and Robin Haghi. Presented by Dance Dance until 2 February to the Fifth Room.

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