“Bis” and “Ode to the Attempt”: attempt to become

«Bis» et «Ode to the Attempt»: tentative de devenir

For its third presence in Quebec, the young choreographer belgian Jan Martens presents two short pieces.

For its third presence in Quebec, the young choreographer belgian Jan Martens presents two short pieces, both of which are essentially conceptual. Two false-solos — duets, and a duet for a dancer and her laptop… —, each at one end of the spectrum, Bis side, more austere, sombre even, and in a response that was lighter, more porous, comedy, Ode to the Attempt.

This ” Attempt “, it is an ” attempt to do “, declared frontally by the choreographer, as an “attempt to become” under our eyes, gestures, style, or idea(s). Sitting behind a table, Jan Martens is focused on his laptop, in this occupation, contemporary autocaptivante that is to catch in a selfie or to glean things on Facebook. It will check there as a stage manager (sometimes with clumsiness wholly assumed), the sound, the lighting, and the projection on the back wall, which is revealed especially the contents of his personal computer.

To (re)read

Jan Martens and virtuosity inconventionnelle

Speaking directly to the public, in a frank report, and simple, Dr. Martens list in the stride, and in his treatment of the text, its intentions, choreographic, in a chronological list of a dozen points : “an attempt to make you aware of what is happening “, ” attempt to send a hidden message to my ex “, “attempt to become” classic, ” attempt to interlude “, ” attempt to become a minimalist “, etc

He will descend on the scene, this line, often responding to the task of “intellectually physical” — which does not prevent the intensity nor the development of its fluidity of a dancer.

Jan Martens, obviously, will look for another type of transmission of affect than the traditional theater advocates, another drama. Unveiling of panels quite personal in his life (the very effective choreography of selfies “, or the message to his ex, playing surprises through comic effects, while contemporary and durations fort on, adjusting and commenting on written as, his intentions dance (giving the passage of the reading tracks to those that could wander), Dr. Martens built a rapport effective with the viewer.

The choreographer parody here Anne Teresa de Keersmaeker, withdrew there any possible symbolism. Jan Martens simplifies the way of doing choreography and trying to let herself really see him. The result is very nice.

In the first part, Bis is bewildered by his austerity, and by the way the choreography makes itself flat, so completely aware of it.

It is the dancer sexagenarian Truus Bronkhorst, who is the heart. His body, especially, almost androgynous with age — it is said without embarrassment, as the choreographer-in-cheek — is necessarily political. If only because you realize, the indicator, at which point we see little of these bodies and of these women most old, out-of seduction and séductabilité, on the scenes, solo, light.

Hoisted on a stool, in a slow circle on it, Mrs. Bronkhorst will, by an accumulation of breath, an “oh !” dropped in a cry which seems to be under our eyes pain. It is interesting to see how the next individual ? social ?) seems to perceive the body as being imbued with more or less feminine depending on the angle, the light, the emotions, the pain.

The songs used, all of which add a layer of irony may not be necessary, carry the idea of time and the joy has passed, as the movements are simple, but repeated and repeated and repeated. Bis door a highly relevant, but it remains flat, almost two dimensional.

Shall also question the choice of the Plant C to present this show, who would have won a context that is more intimate, in his great room.

To (re)read

Jan Martens and virtuosity inconventionnelle

A previous version of this article, which reported that it was the first time the presence of Jan Martens in Quebec, has been corrected

“Bis” and “Ode to the Attempt”

Of and with Jan Martens and Truus Bronkhorst. At Plant C, up to 22 February.