The Korea Nationwide Up to date Dance Firm will stage a double invoice this week, pairing creative director Kim Sung-yong’s new work “Crawl” with one of the vital celebrated items by modern choreographer William Forsythe, “One Flat Factor, Reproduced.”
The efficiency marks the Korean premiere of “One Flat Factor, Reproduced,” which is considered one of many choreographer’s signature works. Having premiered in February 2000 at Ballet Frankfurt in Germany, the place Forsythe served as creative director, the piece has since been carried out by corporations all over the world, together with the Netherlands Dance Theater, Pacific Northwest Ballet and Staatsballett Berlin.
Whereas Forsythe is greatest identified for his ballet-based works, this piece stands amongst his most overtly modern creations, which is one purpose the Korea Nationwide Up to date Dance Firm, not a ballet firm, sought to deliver it to Korean audiences.
The efficiency begins with a harsh metallic scrape as dancers drag tables onto the stage — 20 metal tables aligned in 4 exact rows. Between and atop these “glacial tables,” the dancers climb, slide and glide.
As they dart by the maze of metallic surfaces, their actions reveal Forsythe’s long-standing fascination with counterpoint, a musical time period Forsythe introduced into choreography, describing it as “a area of motion by which the intermittent and irregular coincidence of attributes between organizational parts produces an ordered interaction.”
In essence, every dancer follows their very own rhythm and route, however collectively they kind an intricate, interdependent order.
At occasions, the choreography borders on perilous: One dancer lies on the ground as one other’s foot sweeps previous their head by mere inches. A mistimed sequence may result in a collision or harm.
“The piece is interdependent,” mentioned Ayman Harper, the stager of the work. “Every dancer has their very own monitor, their very own materials, their very own choreography. The best way the piece comes collectively is off of a cueing system. There are a whole bunch of hyperlinks, which suggests you’re observing the entire time, in actual time and making selections. The dancers have to look at each other carefully, in search of a collection of cues, and that’s utterly fascinating.”
Paired with Forsythe’s work is “Crawl,” a bit that Kim described as one by which he paid shut consideration to the dancers’ velocity.
“A sluggish motion, to me, is like portray a broad stroke on a canvas. It’s about filling area, patiently and absolutely. On high of that, I needed moments of sharp, speedy movement to emerge clearly, in order that collectively they create a way of depth and dimensions.”
The KNCDC’s double invoice runs Saturday and Sunday on the Nationwide Theater of Korea in Seoul.
hwangdh@heraldcorp.com
